Steve Reich - Octet/Music for a Large Ensemble/Violin Phase LP (1980, ECM) [By Reich]

What is that phrase? "The show must go on." I suppose it does. Today, and in lieu of doing anything of any remote importance, I am sharing a recording of multiple Steve Reich works conducted by Reich. I was pleased to pick this from the stacks at a local chain's newest location nearby, mint and for the right price I might add. The recordings, especially Octet and Music for a Large Ensemble, seem to pick up where the infamous Music for 18 Musicians piece left off in terms of the minimalist style. That may be a deal breaker for those who become adamantly reluctant at the thought of minimalism. As a disclaimer, you are unlikely to enjoy these works if you did not enjoy 18 Musicians. Admittedly, as much as I enjoy and admire Reich's superb phasing technique, it can become onerous during casual listening. In terms of minimalism and in the frame of casual listening, unless the piece grabs me within the opening phrase I can become turned off. I think similar can be said for most listeners, and especially those uninitiated or otherwise unfamiliar with the style. Also, listening to Vile's "Solution" and then Reich's "Violin Phase" immediately thereafter is a difficult transition.

Pontificating complete. Now I am going to discuss the music... wait, don't go. As previously stated, Music for a Large Ensemble can be considered the third continuation of Reich's preceding "Music for..." works. The piece contains four sections, each with concise phrases that are augmented throughout and then shortened through diminution. The piece uses what is apparently the largest ensemble that Reich had ever used at the time, twenty-nine musicians if you include the Reich's piano as well. Prior to this recording, the original piece went through a small evolution (or devolution depending on your opinion): it was shrunk from twenty-one minutes to sixteen after a section was removed; instruments were added and removed; and finally, the piece was played faster than originally intended. According to the extensive liner notes, each section is in an arch form which is notated as (A*B*C*B*A). This is probably my favorite piece on the record, and is one which I assume casual listeners will enjoy most for its lovely, violin-led opening phrase. It is a mostly bright work with a relaxing atmosphere and themes similar to 18 Musicians. This is a valid introduction to the composer, and a vital listen for all.

Violin Phase is the oldest piece on this record, both in terms of age and technique. The piece was written in 1967 and is a prime example of phasing. It is written for one violin, but requires that the musician play against three recordings of himself. The musician slowly plays ahead of the tapes, and patterns are both formed and found. The piece sounds ancient when juxtaposed against the other two recordings, and rightly so as it is over a decade older than them. The fifteen-minute piece can quickly become monotonous for casual listeners. It is more interesting than it is enjoyable; it is something to admire as expression and an art I suppose. It is nonetheless a great introduction to Reich's phasing.

Octet sounds similar to Reich's "Music for" works and is simply radiating with his touch. It is a beautiful piece blooming from two pianos, which are complemented with the lingering, nearly invariable strings and a propulsive wind section mostly dominated by flute and clarinet. I know I said Large Ensemble was my favorite here, but in terms of energy... well, I guess it's a tie really. Octet carries on with the same themes and motivations, but focuses on wind rather than percussion. Enjoyable recording and also nice place to start with the composer.

It seems that the recordings on this record are somewhat unpopular, perhaps permanently overshadowed by Reich's magnum opus which has already been mentioned far too many times in this entry. Whether you have heard Reich before or not, there are bright moments to be discovered here. I would say that these recordings, apart from Violin Phase, are a kinder introduction to Reich if you are entirely unfamiliar with him. That is my opinion anyway.

This was released on ECM Records and has the potential for a takedown notice.

Steve Reich - Octet/Music for a Large Ensemble/Violin Phase MediaFire

Bill Nelson - The Two-Fold Aspect of Everything 2xLP (1984)

Some time ago, I discussed another Bill Nelson related project called Red Noise. That project received some attention, but not nearly as much as the eponymous artist's solo work. For those unfamiliar, here is a bit of a bio: Bill Nelson is a prominent English new wave artist that was active all through the 1980s. He led a band called Be-Bop Deluxe, later led Red Noise, and eventually decided on a solo career in electronic music. Despite releasing countless - seriously, countless - records, Nelson remained a mostly reclusive musician, no doubt due to his poor relationship with major labels. He released most of his records on his own label, Cocteau Records, likely named after Jean Cocteau, of whom Nelson was a big fan.

Bill Nelson has quickly become a favorite of mine over the past couple years. Nelson is overtly a guitarist, although his music could easily be described as synth-pop. The music featured in this compilation rarely meanders - straight-forward, propulsive pop right down to the core. His version of the guitar-synth hybrid sound always keeps me coming back, not to mention every track he does is endlessly catchy. And although Nelson remains pretty obscure, he has a diehard fanbase keeping his music alive. He still performs today, too.

This may or may not be a good introduction to Bill Nelson for those who haven't heard his music before. Many of these songs are remixes and alternate versions, facts that may color one's perception of this music. Nonetheless, this is highly recommended for fans of new wave and synthpop music.

Bill Nelson - The Two-Fold Aspect of Everything 2xLP MediaFire

Bitch Magnet - Umber LP (1989)

Featured on Elementary Revolt's Blogosphere of the Week!

Seeing as how there are multiple entries about Seam here at The Thinner the Air, it's pertinent to discuss Sooyoung's heavier-hitting past for the fans and uninitiated alike. Bitch Magnet formed in the late 80s and played a post-hardcore-esque sound similar to bands like Squirrel Bait and Bastro: similar guitar tone, aggressive bass lines... essentially that Midwestern sound. I've seen other interesting comparisons, too, from Jawbox to Big Black. (P.S.: Bitch Magnet's Star Booty EP was produced by Albini.) Myself, I've always considered Bitch Magnet to be a like heavier Seam — dark and contemplative, yet still melodic and catchy.

It's shocking that this project received as little attention as it did, although I attribute that to the comparatively small labels (Communion, Glitterhouse, Roman Candle, Waterfront) that they released their records on. I was surprised to find that Umber was released in 1989, but the heavy "intellectual" indie sound was evolving at that time. For example, a compilation called Human Music, released by Homestead Records the year before Umber, is a favorite of mine and a prime example of the eclecticism of late 80s independent music. Lots of creativity and experimentation. As far as Bitch Magnet goes, it's a cornerstone post-hardcore record. But you can decide for yourself.

Members went on to Bastro, Don Cabellero, Walt Mink, and Gastr del Sol. My copy was Communion #12; it's beat up, written on, and now yours to mutually enjoy.

Incidentally, Bitch Magnet are reuniting for All Tomorrow's Parties this year.

Bitch Magnet - Umber LP MediaFire

The Creeping Nobodies - Augurs & Auspices LP (2007)

I am inadvertently a shill for Canadian bands I guess. Or maybe it's just the Toronto scene, given that I have at least two other entries concerning bands from there. It's not so much that I favor the city over other places - in fact, having been to Toronto, I'd say I prefer the easternmost section of chilly Ontario to its metropolitan bits. And I don't think it's a difference of talent in comparison to American bands. It's just that music I've heard come out of Toronto, and Canada in general, seems to have a mind all its own - a narrow-yet-sophisticated approach that sets Canadian artists apart. Maybe? Or maybe this is all just posturing and I should get down to the subject matter.

The Creeping Nobodies were mentioned to me some time ago in passing. I neglected to look them up immediately, just as I still haven't looked into their related acts like Sick Lipstick, These United States, Martyrs and Parts Unknown. I think there was just a certain sound being thrown around in Toronto during the early 2000s. Anyway, it just so happened that I found their last full-length, Augurs & Auspices, at Amoeba for the right price. As good a time as any to check out the, let's say, complicated, Ex-like if not for the production post-punky sounds of this 2000s quartet (or quintet by this time.) Before I wrote this, I went out on a limb and predicted, having not listened to the album since I bought it, that it had a Zs feel to it. Although I wasn't completely off, especially when the Nobodies' compositions stretch out for such generous spans of time, I wasn't correct. A somewhat uneven mix of familiar no wave of new and olde (Liars, other NYC-related bands) and post-punk influences seem to make up their sound - and wouldn't you know it, they formed as a result of a tribute performance to The Fall. But what do I really think? Dissonance, uncertainty, contempt, anxiousness - these are all words that come to mind when listening to this. Most songs start off with simple ideas and jam around them for the remainder of the song, a formula that, believe me, sounds better in practice than it does on paper. If any of the namedropping in this entry hasn't spoiled your appetite for the evening, you're bound to enjoy this.

This was Deleted Art #24. Maybe it's out of print.

The Creeping Nobodies - Augurs & Auspices MediaFire

Franco Battiato - Clic LP [UK VERSION] (1974)

A big name in synth and avant-garde, Franco Battiato is a veteran in numerous forms of expression. He is perhaps best known for his first LP, Fetus, a cornerstone release for prog and synth-based music. Tonight, I share with you his fourth album, Clic, a mostly instrumental album touching on a variety of textures, sounds, themes, moods and interestingly an about face in songwriting. Franco's early work is often aligned with progressive-related genres, however this album branches out noticeably. Perhaps taking cues from Brian Eno (for what it's worth, Here Come the Warm Jets was released the same year) and other ambient artists active at the time, Franco uses a plethora of synths and drones to create tranquil atmospheres reminiscent of, well, 70s synth in general. He is not without his psych influence either, touching on psych-out themes throughout the only predominately vocalized track "No U Turn," which among its peculiar bursts of oddity features various operatic voices including his own crooning throughout the track. Apart from that, the album is overtly ambient in theme. Fans of current synth artists are sure to notice similarities here.

It should be duly noted that this is ripped from the UK version, that is the 1974 Island Records pressing. The original, Italian pressing it a great deal different from this one.

Franco Battiato - Clic LP MediaFire

Fearless Iranians From Hell - Die For Allah (1987)

In light of recent events (yeah... why not), here tonight is a largely overlooked Texas band, led by an Iranian immigrant, from Berkeley's Boner Records label. About two years ago, I lucked out and picked up this Fearless Iranians From Hell LP, as well their second LP Holy War (which people seem to like more than this one), from a hole in the wall shop after a couple months of seeing it and several price markdowns. At one point, both were being sold for an upwards of $75 respectively. Ridiculous, actually. Even more ridiculous is, again, how utterly overlooked this band is, given their sound being similar to other satirical, more popular crossover thrash of the 80s and beyond, although I think they lean toward hardcore more than anything. It is perhaps for that reason that I favor this band over most other crossover bands, never mind the pop leanings present in their songwriting as well. If you haven't already figured it out, these are Americans pointing out the flawed relationship between U.S. and Iran through blatantly satirical songwriting (see OPEC.) A small step above songs about pizza and weed, wouldn't you say? Just kidding. The band no doubt sought to spark reaction and thought through their music, and what reactions they did accrue:

We were attacked by police, protesters, skinheads, right-wing radio hosts, left-wing college boy bands who were too caught up in their seriousness to get what we were doing, gangs, religious organizations, promoters...hell, Fearless Iranians From Hell album covers were even featured in PTA slide-shows portraying the evils of rock 'n' roll. Mission accomplished. (source)

Sorry about the hiccups, I tried.

Fearless Iranians From Hell - Die For Allah MediaFire

Milkways - Milkways LP (1978)

Tonight, here is a real treat and one of my favorites: the sole LP of French space disco band Milkways. Disregarding tenets of corniness and evidently shirts as well, this mysterious trio, whose members go unnamed, composed these eight smooth and dreamy synth-based jams and drifted into the void. This is ripped from an original copy of the record, which was later repressed as "Galactic Reaction" in the early 80's. "Dance in the Milkway" and "Astroport" are definite standouts, but the album as a whole is a certified gem of the genre, which was as short-lived and niche-y as other obvious European subgenres. All in all, though, if you're a fan of synthesizer music. this is potentially a new favorite for you; regrettably, the specific instruments used on the record aren't listed anywhere. I am aware this has been blogged before, but I am hoping to expose this to an otherwise unsuspecting audience. Really, if you're reading this and don't already know what it is, I encourage you to give it at least one listen.

I should also note that while the last two tracks are tracks in and of themselves, it was difficult to discern when the tracks split. As such, I combined the two; you likely will be unable to tell the difference. Admittedly, though, this is just laziness: the length of both tracks are plastered all over the record.

Milkways - Milkways LP MediaFire

Brave Irene - S/T EP (2011)

Although the headlines currently tell of a collapsing planet, the world could never be so dark as to disallow a new poppy Rose Melberg project. Avid readers of this blog (all two of you) are no doubt unfamiliar with Rose and my fanboy affection for her music. So you (the two of you) could only imagine my surprise to find that her latest fronted project, Vancouver-based Brave Irene, recently dropped their debut EP on Slumberland. No disappointment to be found in this record, which is a bold throwback to the best 90's twee, early Slumberland and K stuff. With artists like Rose, it's difficult not to use their name as a buzzword to speak lovingly of and promote their bands, but this all-girl quintet pull their collective weight and drive each song in their own way. The label noted the Flying Nun vibes going on with the keyboardist Jessica Wilkin, and they're not far off. Another pop banger with signature Melberg songwriting and nods to her past projects (surprisingly, Gaze are the first to come to my mind.)

I have a feeling this will sell out in a minute, so frolic over to Slumberland and get yourself a copy.

Brave Irene - S/T EP Mediafire
Buy it

V/A - And Now Live From Toronto... The Last Pogo (1979)

Here's a cool one from Canada. This Bomb Records compilation showcases a few of what I assume were heavyweight punk acts in Toronto at the time. All of these songs were recorded live at a venue called "The Horseshoe," during what seems to be the venue's last show. The compilation is the de facto soundtrack to an eponymous documentary by Colin Brunton. Bands include The Everglades, The Mods, Cardboard Brains, Drastic Measures, The Secrets and more. A seemingly obscure record with a heaping of 77; it's apparently a classic and a shining example of 70's punk in Canada. Great stuff, enjoy!

V/A - And Now Live From Toronto... The Last Pogo MediaFire

Peter Morris & Tom Stanswick - Time & Motion (1983)

Another Red Bus Music Library rarity. The dominating composer of these demonstrations is Peter Morris, but one Tom Stanswick provides tracks eighteen through twenty. This particular archive tractors us back to terrestrial habits with impellent themes of routine, nine-to-five and ephemeral time. No specific information could be located for either composers, although Mr. Morris may have been from Belgium and Mr. Stanswick apparently composed two other releases on the exponentially more popular Coloursound Library.

Peter Morris & Tom Stanswick - Time & Motion MediaFire

Alexander Goldscheider - Themes For a One Man Band Vol 1 (1983)

Taking a break from the deluge of punk records in the "to jam" pile to share this library synth obscurity. London's Red Bus Music Library (full name being the Red Bus Music Library Limited) were one of many mystery library labels from UK; a quick search turns up little specific information. However, this composer's identity is a little less dubious. Dr. Alexander Goldscheider is a composer from Czechoslovakia who popularized the use of synthesizers in that country during the late 1970's. What seems to be his first effort, Themes For a One Man Band Vol 1 precedes a semi-illustrious musical career, one in which Goldschieder cut various songs for use in film, television and radio broadcast. An example of his more popular work is below - a clip from a Czech hit-parade entitled Hitsarada:



This LP is a fine, comparatively less obscure example of European library synth. Its sub-title, if you cannot read it from the photo, says "Pop and classic images of space." And images they are, as Goldschieder lifts the listener through the multifaceted galaxy in a series of demonstrative compositions, propulsive as they are ethereal. Upbeat and occasionally sparse recordings for your next trip to Saturn.

(Do forgive an error in the tags - I tagged the date as 1986, when in fact this record was released in 1983.)

Alexander Goldscheider - Themes For a One Man Band Vol 1 MediaFire

V/A The View From Here: The San Francisco Compilation (1987)

Avid readers of an almighty blog that needs no introduction probably caught this record last year, so for those folks this is no news. Indeed, I am a bit disappointed to be the second (perhaps third) of the collective blogosphere to unleash this wacko slab on the world, but I suppose it doesn't hurt to add my own two cents. Besides, this gives me a chance to inadvertently remind readers of another San Francisco obscurity; as it turns out, White Stain's Wally Sound produced one of the songs on this compilation. Bet this guy is getting tired of his name being thrown around these parts... Anyway, lots of interesting new wave and punk-related sounds emanating from this. A couple, more familiar names like Camper Van Beethoven are thrown in among mostly San Francisco native unknowns, but all the more charm value. Catchy and occasionally campy, but entertaining one hundred percent of the time. This was released in 1987 on Medical Records. Here is the tracklisting which I will now unabashedly copy from the aforementioned blog:

01. Pray For Rain - 2 Steps Forward
02. The Naked Into - Dark Comes Down
03. Vox Humana - Concept Day
04. Camper Van Beethoven - Happiness Is a Porpoise Mouth
05. The Ophelias - Palindrome
06. Standing Naked - Soul
07. Tooth & Nail - Stuck in a Nightmare
08. Kelley Gabriel & Clocks of Paradise - Sandra
09. Hold My Head, It Hurts - Carnival Ride
10. The Sneetches - I Need Someone
11. The McGuires - Garbage Man
12. Spot 1019 - Taste the Feel
13. Child Support - Classified Information
14. Blue Movie - Dog Song

V/A The View From Here: The San Francisco Compilation MediaFire

The Fents - First Offense (1983)

Another big surprise for me, I came upon this (cheap!) copy of the Fents' first record at my favorite shop and, once again, I was intrigued by the artwork. What I thought might be another hard rock find turned out to be surprisingly excellent jazz fusion fronted by keyboardist Adam Holzman. Although I am usually not one to take enjoyment out of jazz fusion (don't get me started on Weather Report, for example), I listened to this record for the first time reluctantly, and then three more times because I found it to be so great. Maybe it's just because I'm a sucker for a synth, but I found that Holzman's keyboard work carried these radical syncopated compositions to the next level, while the more guitar driven tracks I liked a little less. I enjoyed the track "Four's a Crowd" in particular for that very reason; I thought his work there was reminiscent of other obscure synth artists like Roland Bocquet, if they had made jazz fusion anyway! Incidentally, and oddly enough, Holzman went onto play and tour with Miles Davis. Holzman is apparently still musically active, though I haven't a clue about the remainder of the band. Sadly, the guitarist, Ted Hall, passed away a couple years ago. This band put out a second album and that was it for them as far as I can tell. This record was released on Not Yachting Records; it was hilariously published by How Come You Don't Have a Singer? Publishing. You should listen to it more than four times.

Here comes the best part...

...this copy was signed by the band, although the signature on the left was the "new guy" at the time. Now if only this band wasn't so obscure!

The Fents - First Offense (1983) MediaFire

Furious Pig - Furious Pig EP (1981)

A strange one from London. Furious Pig were a very short lived quintet that made music using their voices exclusively - a capella, in other words, but not in the way you might think. It was an interesting $1 find; I almost didn't pick it up after listening to it at the shop, but I figured there must be more to this record than meets the eye. I got it home, made it through all three songs, and found that I was both bewildered and entertained, feelings well worth the buck I paid. This group, which took influence from popular avant-garde artists like Captain Beefheart and Frank Zappa, set out to make a name for themselves in a National Melody Maker contest, but unfortunately didn't make the cut. Not ones to be discouraged, they continued to practice their droning chanting and went on to tour with the likes of The Raincoats, This Heat and Television Personalities. They even had a Peel session once. This EP, alongside a flexi and a couple compilation contributions, are all that this band left behind. A very intriguing "non-music," performance art gem that, incidentally, is worth quite a bit more than I paid for it. The label told me to play it at any speed, so I chose to rip it at 45 RPM because it sounded correct. I recommend playing it loudly while your neighbors are walking by.

Furious Pig - Furious Pig EP MediaFire

Crawlspace - In The Gospel Zone

I went to my favorite record store today. While sorting through a stack that the owner hadn't priced yet, I found this (among other rarities that I didn't pick up/will pick up next time) sitting between a couple junk LPs. I ended up picking it up for three dollars.

Crawlspace, one of many synonymous Crawlspaces in the world, were an "Indiana-bred, Los Angeles-based" punk-influenced hard rock band that was fronted by Eddie Flowers of Gizmos fame. I put this on at the shop before I bought it, since I was instantly intrigued by the cover art but I wanted to know what I was getting into. It was a big surprise: the fusion of punk and space rock is spot on, and I found myself hooked within one song. The song "Aeroplane" in particular sounds more like a straight punk song than anything else. The best part is that sixteen minutes of the B-side is a cover of Can's "Little Star of Bethlehem," rendered into an all-out psychedelic space rock jam. In The Gospel Zone is an obscure little jammer that I'm glad to have discovered. Also, apologies if this rip is sub par - trying out some new settings in Audacity this time. Let me know what you think.

Crawlspace - In The Gospel Zone MediaFire

Plutocracy - Off The Pigs 12" (2010)

Jumping from the reminiscing to share the new Plutocracy EP, which finally arrived at my doorstep this morning. Six cuts of anarcho grindcore the way only Plutocracy can do it. It's no Sniping Pigz, but it's still rad. Any fan of hardcore or grind at all will dig this, I'm 100% certain. I'm too exhausted to say much more. Enjoy.

Plutocracy - Off The Pigs 12" MediaFire

(To the one person who downloaded the previous file: sorry, download this again. I made a mistake on the track "Dank Upon a Time" and forgot to split it from the rest of the B-side. That's the last time I update at five in the morning.)

White Stains - White Stains EP

Deviating quite a bit from the theme of my last few posts with this obscurity. I came upon this EP in a local thrift store, wedged in between a couple gospel records that are probably still there. An old friend was mine was considering buying it, but he decided to let me since he was broke at the time. I was immediately intrigued by the artwork, so of course I snagged it for a couple bucks. Anyway, I have him to thank for this entry.

Getting it home, giving it a spin, I took in the eerie darkwave-esque tunes of San Francisco's White Stains, a five piece who apparently only put out this EP. Creepy vibes, downright strange imagery, even a few (you guessed it) pop tendencies in some spots, especially dead on in the Glockenspiel bits. The lyrics are a little reminiscent of fellow San Francisco natives Switchblade Symphony (there's a reference I never thought I'd make again), although this record is less brooding. Lots of references to God and theology. A very intriguing and enjoyable record.

I'm glad that I am blogging about this now rather than back then, because when I attempted to dig up information about this band, I believe that I got this band mixed up with a later Swedish band of the same name. This band is made up of three women and two men (which is contrary to another person's comment that this was an all-girl band), while the other darkwave band seems to revolve around two Swedish men, not to mention this particular record was recorded in San Francisco in 1983 while the latter White Stains were active beginning in 1987. Both bands, incidentally, have a similar sound, so I wouldn't be surprised if they somehow ended up being the same band... but signs point to no. Any further information about this band or release would be appreciated. It was Round Black Records #1, evidently the first and last release according to Discogs. Members, as they are credited on the back, were Contessa Kathleena D'Onofrio (guitar and vocals), Contessa Susana Volkana (vocals and tapshoes), Contessa Suzanna Ramsini (piano, Glockenspiel and vocals), Wally Sound (guitar and bass), and David P. Silva (drums). Awesome artwork on the front and back.

White Stains - White Stains EP Mediafire

Loma Prieta - Life/Less LP (2010)

Loma Prieta were kind enough to sell test pressings of their newest LP, "Life/Less," to the general public three weeks before its proper release. Needless to say, the record fantastic; it's much harder and more developed than anything else they've put out. It's great to see this band growing and advancing instead of taking a step backwards like some of their peers. I am not at all disappointed with this record, and we're talking about screamo in 2010. Loma Prieta is probably the only Bay Area screamo band that I still enjoy (incidentally, this is the only time that I'll be posting screamo on this blog.)

Here it is if you'd like to hear it early. If you like this record (and you will), please buy it the second it comes out. Go to their upcoming shows and buy some of their merch. Send them money through the post if you're a shut in like me. Lastly, take a cold shower and wash this off your conscience like I am about to.

Loma Prieta - Life/Less 12" Mediafire

Some people have said that the B-side tracks are quieter than the A-side tracks. If you want to hear them louder, click here for a link to another/better rip that isn't mine. And if you don't like vinyl rips, then buy yourself a copy. Problem solved.