THE 27 BEST AND 8 WORST RECORDS ON LOAD RECORDS

THIS IS THE LAST POST FROM THIS BLOG. THERE IS NO NEED FOR MORE.

HERE IS A SPOTIFY LINK TO A MIX OF GREAT SONGS FROM ACROSS ALL OF THE LOAD RECORDS CATALOGUE. SOME GREAT SONGS ARE ON RECORDS THAT DIDN'T QUITE MAKE THE CUT. LISTEN ON SHUFFLE!

HERE ARE THE 26 27 CERTIFIED: GOOD RECORDS OF LOAD RECORDS REARRANGED INTO ORDER OF HOW MUCH THEY RULE (THEY ALL DO)

1. NOXAGT - THE IRON POINT
2. SIGHTINGS - THROUGH THE PANAMA
3. LIGHTNING BOLT - WONDERFUL RAINBOW
4. YELLOW SWANS - AT ALL ENDS
5. KHANATE - THINGS VIRAL
6. SWORD HEAVEN - ENTRANCE
7. FNU RONNIES - SADDLE UP!
8. ASTOVEBOAT - NEW BEDFORD
9. YELLOW SWANS - PSYCHIC SECESSION
10. THE USA IS A MONSTER - SPACE PROGRAMS
11. SILVER DAGGERS - NEW HIGH & ORD
12. HARRY PUSSY - YOU'LL NEVER PLAY IN THIS TOWN AGAIN
13. IMPRACTICAL COCKPIT - TO BE TREATED
14. VAMPIRE CAN'T - KEY CUTTER
15. LIGHTNING BOLT - HYPERMAGIC MOUNTAIN
16. COUGHS - SECRET PASSAGE
17. SCISSOR GIRLS - S-T-A-T-I-C-L-A-N-D 10"
18. EXCEPTER - THRONE
19. LIGHTNING BOLT - LIGHTNING BOLT / THE YELLOW ALBUM
20. CLOCKCLEANER - BABYLON RULES
21. SIGHTINGS - ARRIVED IN GOLD
22. NOXAGT - TURNING IT DOWN SINCE 2001
23. THE USA IS A MONSTER - SUNSET AT THE END OF THE INDUSTRIAL AGE
24. LIGHTNING BOLT - RIDE THE SKIES
25. FINISHED - CUM INSIDE ME BRO
26. DAILY LIFE - NECESSARY AND PATHETIC
27. THE USA IS A MONSTER - WOHAW

NOTE: HAD DRUNKDRIVER'S RELEASE COUNTED AS A LOAD RECORDS RELEASE I'D PROBABLY PLACE IT JUST OUTSIDE THE TOP 10.

THE 8 WORST ALBUMS ON LOAD (DISREGARDING THE COMPILATIONS I DIDN'T LIKE) FROM WORST TO MOST TOLERABLE (ALL ARE BAD)

1. NAUTICAL ALMANAC - ROOTING FOR THE MICROBES
2. NEON HUNK - SMARMYLAND
3. DISKAHOLICS - LIVE IN JAPAN VOL. 1
4. KITES - ROYAL PAINT WITH THE METALLIC GARDENER FROM THE UNITED STATES OF AMERICA HELPED INTO AN OPEN FIELD BY WOMEN AND CHILDREN
5. FAT WORM OF ERROR - PREGNANT BABIES PREGNANT WITH PREGNANT BABIES
6. HETERO SKELETON - EN LA SOMBRA DEL PÁRAJO VELLUDO
7. KITES - PEACE TRIALS 
8. MR. CALIFORNIA AND THE STATE POLICE - AUDIO HALLUCINATIONS
   
   
   THANK YOU AND GOODNIGHT

FINISHED - CUM INSIDE ME BRO (LOAD 148)

IT IS 2016 AND IT IS THE LAST RECORD ON LOAD RECORDS. FUCK. AND THE NAME OF THE GROUP IS FINISHED? IS THAT A COINCIDENCE? I WAS PARTLY EXPECTING SOME KIND OF LOAD RECORDS ALUMNI PARTY RECORD BUT INSTEAD THIS SORT OF SOUNDS LIKE JAY REATARD WRITING WITH THE CULT?

THE RECORD FAIRLY RIPS ACTUALLY. I HATE THE ALBUM ART (BELOW) AS MUCH AS I HATE ANYTHING THAT BRINGS THAT DEEPLY ONLINE WORLD INTO THE TANGIBLE WORLD OF THINGS (I MIGHT WANT TO BUY THIS AND DISPLAY IT, THINK OF MY COFFEE TABLE CULTURAL CAPITAL DUDE) BUT I CAN'T DENY THAT WHAT IS PRESSED ONTO THE THING INSIDE IS A. MORE IMPORTANT AND 2. QUITE GOOD ACTUALLY.

THIS HAS THE SAME KIND OF SCABROUS ANTI-REVERENTIAL TENDENCY AS FNU RONNIES AND HUMAN EYE AND PURLING HISS. IT ROCKS OUT BUT IT REJECTS OBVIOUS CLICHE. WFMU-FRIENDLY ROCK AND ROLL. I THINK I'M GONNA SAY THIS IS A CERTIFIED: GOOD RECORD ACTUALLY. THE GUY ABSOLUTELY SLAYS ON THE GUITAR AND THE BAND AND SINGER JUST DO THE RIGHT THING NEARLY ALL THE TIME.

CERTIFIED: GOOD

TROPICAL TRASH - UFO ROT (LOAD 147)

THE DEBUT ALBUM BY THE STILL-GOING TROPICAL TRASH, A GROUP OF DUDES FROM LOUSVILLE KENTUCKY, REMINDS ME QUITE A LOT OF SACRED BONES ACT "THE MEN". THAT'S NOT A CRITICISM - THE MEN DID A RECORD IN 2012 THAT RULES AND THEN HAVE SINCE PURSUED A MOJO MAGAZINE AESTHETIC. TROPICAL TRASH PICK UP THE ALTERNATIVE TIMELINE OF CONSULTING THE BANDS LISTED IN "OUR BAND COULD BE YOUR LIFE" AND RUNNING WITH IT.

I LIKE THIS RECORD BECAUSE TROPICAL TRASH ROCK AND PLACE A PREMIUM ON YOUR FUN AS A LISTENER. IT ISN'T NEW IN THE SLIGHTEST. SOME PEOPLE WILL SEE IT AS JUST AS MUCH AS AN EXERCISE AS THE RYAN ADAMS 1984 EP (WHICH I MAINTAIN RULES) BUT ULTIMATELY IT'S A BUNCH OF GOOD SONGS EXECUTED WELL. WHEN WE PORE OVER THIS STUFF AS WE LOOK AT GREEK CLASSICS TEXTS WE DON'T REALLY SEE THE MINOR SHIFTS BETWEEN YEARS, RATHER THAN THE GREATER SWEEP OF HISTORY STUFF.

THIS IS A GOOD RECORD AND AGAIN LIKE A LOT OF GOOD RECORDS ON LOAD OF LATE IT ISN'T GREAT OR DOESN'T MAKE YOU WANT TO RUN DOWN THE STREETS LIKE THE WARRIORS OR SOME SHIT. I'D GO SEE TROP TRASH THOUGH.

TIMEGHOST - CELLULAR (LOAD 146)

THE ONLY RELEASE FROM LOAD RECORDS IN 2014 WAS THIS PEDANTIC AND THIN SOUNDING ELECTRONIC RECORD THAT MIXES PARANOID POETRY WITH GURGLES AND SWIRLS THAT TAKES FLIGHT AND AIMS FOR THE FENNESZIAN HEIGHTS BUT LANDS SOMEWHERE IN THE SEA OF THE SOUND A DYING FAX MAKES.

THE FEEL I GET FROM THIS ALBUM IS WHEN I GO TO ONE OF MANY CONTEMPORARY ART EXHIBITS THAT IS A CRITIQUE OF SOCIAL MEDIA ND TECHNOLOGY AND IT ALL ADDS UP TO VAGUELY WINDOWS XP-INFLUENCED COLLAGES OF BREAKDOWN AND DYSFUNCTION MARRIED TO THE SACCHARINE IMAGES OF THE DREAMS IT PROMISES US. LIKE, WE GET IT, THERE'S A FUNDAMENTAL RUB THERE. SAY SOMETHING MORE. EVEN MY FUCKING MUM KNOWS THE INTERNET IS A FALSE PROMISE, OR AT LEAST A REAL PROMISE CORRUPTED.

I MEAN AT LEAST PRURIENT CRITICISES STUFF BY ROLLING ON THE FLOOR WITH HIS TINY COCK POKING OUT OF HIS LEATHER DUDS. THIS IS KIND OF AN AMBIENT RECORD THAT SOMETIMES GETS BOLD. I DON'T DISLIKE IT TO BE HONEST AND MY REVIEW IS BEING WEIRDLY UNFAIR, BUT ALSO I DO THINK IT CONTEMPTIBLE ON SOME LEVEL.

WHORE PAINT - SWALLOW MY BONES (LOAD 145)

I GUESS IF PRESSED I WOULD NOT SAY THAT LOAD RECORDS HAS BEEN NOTED FOR ITS STRONG VOCAL FEMINIST STANCE. YES THEY HAVE PRESENTED A NUMBER OF WORKS FROM INTERESTING FEMALE PERSPECTIVES - SCISSOR GIRLS, METALUX, OvO - BUT IT WOULDN'T BE AN UNFAIR CRITIQUE TO SAY THAT LOAD WAS A BIT OF A SAUSAGE PARTY.

WHORE PAINT I GUESS FROM THEIR NAME AND GENERAL APPROACH TO ROCK (SLEATER-KINNEY AN INFLUENCE) ARE ONE GROUP THAT SEEM TO COME FROM A GENE POOL THAT ONCE WAS RIOT GRRL. THERE'S ASPECTS OF THE BLOWN-OUT FURY OF PROVIDENCE ROCK AND ROLL TOO, SO THERE IS A NATURAL FIT HERE AND I'D AVER THEY GOT SIGNED BASED ON THIS RATHER THAN THEIR POLITICS OR GENDER. THE GUITARIST HAS THIS REALLY CRUNCHED OUT SOUND THAT COULD HAVE BEEN LOAD 001.

THE RECORD DOES SORT OF FEEL LIKE HALF-AN-ALBUM'S WORTH OF IDEAS STRETCHED OUT TO FULL LENGTH. THEY CAN OBVIOUSLY RIP IT UP AND THE SINGER RANGES BETWEEN THAT RIOT GRRL BELTING TO SOMETHING A BIT MORE ANIMALISTIC WHILE THE DRUMMER ISN'T CHOPPED LIVER IN THERE EITHER. JUST NEEDED A BIT MORE TIME AND A COUPLE MORE IDEAS!

HUMANBEAST - VENUS EJACULATES INTO THE BANQUET (LOAD 144)

WE ARE NOW IN 2013 AND LOAD ARE SORT OF RETURNING TO THEIR ROOTS A LITTLE. 143 AND 144 ARE PROVIDENCE GROUPS: ONE BRO-ISH AM REP SHIT AND THE OTHER ART SCHOOL ELECTRONICS. SHE SINGS AND I GUESS HE PRESSES KEYS AND MAKES SURE THE COMPUTER HAS A RELEVANT SOUNDCARD.

DESPITE THEIR NAME I HEAR NO EMILE ZOLA-ISH DETERMINIST NATURALIST CRITIQUE OF MAN'S EVENTUAL DEBASEMENT. INSTEAD WHAT WE HAVE SOMETHING THAT LANDS IN THE WORLD OF THE EROTIC AND SULTRY. THOUGH THERE ARE NOISE OUTBURSTS AND MOMENTS OF ANTIC PANIC, THIS IS MOSTLY SET AT SEX TEMPO AND REVELS IN FUCK MELODY AND RHYTHM. FOR A PROVIDENCE DUO THE FEEL IS MORE HAMBURG NIGHTCLUB.

I GUESS IT'S A BIT TOO DIRTY SOUNDING TO CRACK THE ACTUAL MAINSTREAM BUT I AM SURPRISED THIS DIDN'T BREAK THROUGH THE INDIE-DANCE WORLD. IT IS FAR MORE INTERESTING THAN HERCULES AND THEIR BASTARD LOVE AFFAIR OR ANYTHING ON DFA SINCE DELIA AND GAVIN TO BE QUITE FRANK. MAYBE IN SOME SENSES IT IS GENERIC GIRL AND GUY ELECTRO POP - HER VOICE ISN'T PARTICULARLY UNIQUE, HE DOESN'T WREST NEW SOUNDS FROM HIS MACHINES - BUT THEY DO ASSEMBLE SOMETHING GOOD.

DEAD AIR - DEAD AIR (LOAD 143)

THE ONLY RELEASE BY PROVIDENCE GROUP DEAD AIR IS AN EXTENDED PLAY. I CAN'T SAY EXACTLY HOW BUT THIS FEELS LIKE EVIDENCE THAT THE LABEL IS WINDING DOWN. USUALLY BANDS HAVE A BIT OF A DEVELOPMENT PERIOD AND THEN BEN GRABS YA AND PUTS YOUR RECORD OUT. DEAD AIR DO BASSLESS TWO GUITAR NOISE ROCK AND I DON'T KNOW IF THEY'VE PUT OUT ANYTHING SO...OKAY.

IT FEELS LIKE KARAOKE AT A SCRATCH ACID CONVENTION. A BAND PLAY A FEW RENT-A-RIFFS AND THEN SOME GUY GETS UP AND YELLS NON-SEQUITURS AND BAM! THERE'S YOUR RECORD. AND IT'S FINE. PERFECTLY OKAY. BETTER THAN A LOT OF SHIT. BUT NOWHERE NEAR AS GOOD AS LOTS. I'M OUT OF THINGS TO SAY HERE.

LIGHTNING BOLT - OBLIVION HUNTER (LOAD 142)

A RECORD MADE BEFORE THE RELEASE OF EARTHLY DELIGHTS BY THE BROTHERS BRIAN BUT FOR SOME REASON SHELVED UNTIL 2012 AND RELEASED AS AN EXTENDED PLAY. IT IS 38 MINUTES LONG SO TO MOST NORMAL PEOPLE THIS WOULD FEEL LIKE A FULL LENGTH.


I GUESS THE MAJOR DIFFERENCE BETWEEN THIS AND THE LAST FEW RECORDS PROPER IS THAT IT SOUNDS LIKE IT WAS CAPTURED LIVE AND NOT REALLY TOUCHED MUCH IN THE MIX. I DUNNO. IT SOUNDS TOTALLY FINE TO ME IN THAT REGARD.

OBLIVION HUNTER IS A DECENT RECORD ACTUALLY. IT'S LIGHTING BOLT CHASING DOWN THE ROAD LESSER TAKEN. IT MUST BE SO EASY WHEN YOU'RE CONFRONTED WITH A HEAVING SWEATY MOB TO GO BACK AND WRITE A NEW BATCH OF INSANE MOSH RIFFS AND KEEP THE MOMENTUM GOING. AND IN A WAY THEY DID ACTUALLY DO THAT, BECAUSE THIS RECORD OF THEIR PSYCH SIDE WAS PUT AWAY. IT'S NOT LIKE THERE'S NO IMMEDIACY HERE, BUT YOU CAN SEE AS A SIDE-BY-SIDE COMPARISON WITH EARTHLY DELIGHTS WHICH ONE OF THE TWO IS LIKELY TO REGISTER ON THE RICHTER SCALE. HELL, ON THIS, GIBSON'S BASS SOUNDS A LOT MORE LIKE A GUITAR PLAYED LOVINGLY THAN A FURIOUS MUTANT BASS.

ON THE WHOLE I PREFER OBLIVION HUNTER TO EARTHLY DELIGHTS. THE CLOSING PSYCH TANTRUM 'WORLD WOBBLY WIDE' HAS A BIZARRE TROPICAL FLAVOUR THAT I GUESS THEY JUST COULDN'T GET AWAY WITH ON A "PROPER" RECORD. NOT QUITE CERTIFIED: GOOD BUT I GUESS THIS ONE DID TAKE ME BY SURPRISE. RECORD MORE STUFF OFF THE CUFF GUYS! DON'T THINK TOO MUCH.

WHITE SUNS - SINEWS (LOAD 141)

IN THE 1990S THE GROUP LABRADFORD CURATED WHAT THEY CALLED "THE FESTIVAL OF DRIFTING" WHICH CELEBRATED THE IDEA OF GENRELESSNESS IN A WORLD OBSESSED WITH TAXONOMY AND PIGEONHOLING GROUPS ACCORDING TO STRICT LINES. NOW I MAY COME ACROSS A BIT VICTORIAN DAD BUT GENRES ARE AT LEAST SOMEWHAT USEFUL (EVEN IF GOOD BANDS RARELY SAY "WE'RE A [GENRE] BAND"). HOWEVER IT IS ALWAYS QUITE GOOD TO COME ACROSS A GROUP AND SAY "WHAT IS THIS?" WHITE SUNS ARE A BIT LIKE THAT.

IF I HAD TO TAKE A WILD SWING IT WOULD BE THAT WHITE SUNS ARE SORT OF A FREE-FORM ROCK BAND WITH FORAYS INTO OUTER METAL, SUNBURNED PSYCH, DEAD C-STYLE COLLAPSING NARRATIVES, AND "EXPERIMENTAL ROCK". ACTUALLY I THINK IN THEIR GENRE COLLISION AND REJECTION OF THE CLASSIC ROCK BAND LINE-UP, THERE'S SOMETHING VERY 2020 ABOUT WHITE SUNS. THIS EVEN SOUNDS LIKE A RECORD THAT COULD HAVE JUST DROPPED.

IT'S HEAVY AND EXCITING AND I DARESAY IT IS EVEN ORIGINAL TO AN EXTENT. MY ONLY QUIBBLE IS THAT WHILE I CAN SEE IT IS WELL-CONCEIVED AND ARTFUL AND PLAYED WITH A WINNING SPIRIT, IT'S JUST NOT QUITE FOR ME! IT HAS A BIT OF A WHIFF OF QUIETUS DOT COM TO ME. LIKE, Y'KNOW, A BIT TOO SERIOUS AND REVERENTIAL FOR ITS OWN GOOD. YOU CAN ALMOST SMELL THE PERFORMED "APPRECIATION" FROM THEIR FANS. GOOD RECORD THOUGH.

WHITE LOAD - WAYNE'S WORLD 3 B/W GODFATHER 4 (LOAD 140)

THE VICE MAGAZINE OBSESSION WITH TOUGH-SOUNDING HARDCORE OVER MORE NAKEDLY EMOTIONAL AND SINCERE FORMS OF MUSIC SPOKE TO THEIR FEAR OF EMOTIONS. YES, IT IS TRUE A LOT OF INDIE ROCK (THE ESSENTIAL HOME OF VICE THOUGH THEY MAY NOT WANT TO ADMIT IT) WAS COMPLETE BALLS BY THIS TIME, BUT THAT'S NO REASON TO THROW IN WITH A GENRE THAT LARGELY CEASED TO SIGNIFY FOR NON-MARGINALISED PEOPLE AND CULTURES AFTER IAN MACKAYE GAVE IT UP FOR ACTUAL MUSIC.

OKAY I AM BEING OVERWROUGHT BUT I DUNNO ABOUT THIS SHIT EITHER. I WAS AN AVID READER OF MXMRNR AND I GUESS I GOT TIRED OF THEIR NONSENSE AND MINISCULE CRITICIAL CRITERIA ("26 SONGS IN 24 MINUTES, NO BULLSHIT CRUST" - LIKE MAYBE I WANT THE BULLSHIT ( MELODIES? REFLECTION?)?? YOU EVER CONSIDER THAT?) IT'S NOT THAT WHITE LOAD CAN'T DO HARDCORE WELL - THIS IS PROBABLY A VERY CREDIBLE HARDCORE RELEASE WITH LITTLE "BULLSHIT". BUT WHAT DOES IT ADD TO HARDCORE ASIDE FROM ANOTHER BODY PILING ON ITS ALREADY OPPRESSIVE MUSICAL DOGMA? VERY LITTLE I WAGER.

THE MOST LOAD RECORDS THING HERE IS THAT THEY DON'T HAVE A BASS PLAYER. THE RECORDING IS PRETTY LO-FI IN A WAY THAT WORKS AND YOU DON'T MISS IT. IF THEY'RE FUNNY OR POLITICAL I CAN'T REALLY HEAR. THE ALBUM TITLE TEES YOU UP FOR IRONY THOUGH.

ED SCHRADER'S MUSIC BEAT - JAZZ MIND (LOAD 139)

THE ED SCHRADER CNC MUSIC FACTORY (BEAT) RETURNS TO LOAD RECORDS FOR A FULL-LENGTH RECORD. THE ULTRA-MINIMALISM OF THEIR 7" REMAINS (BOTH SONGS FROM THE SINGLE ARE HERE) BUT BOTH SCHRADER AND BEAT VARY THE MUSICAL PALETTE. FOR INSTANCE THE SECOND SONG IS CALLED 'GEM ASYLUM' AND IT IS VOICE AND SYNTH AND SOUNDS MORE LIKE SOMETHING ROOTED IN 80S SYNTHPOP.

WHAT I AM MOSTLY BROUGHT TO MIND OF WHEN CONFRONTED WITH A FULL-LENGTH RECORD BY THESE GUYS IS - AND THIS IS AN OBSERVATION RATHER THAN A CRITIQUE - IS LESS "TOURING MUSICIAN" AND MORE "STREET MUSICIANS WITH AN INTERESTING GIMMICK". LIKE THEY WERE DESPERATE FOR THE RENT ONE DAY AND THEY WENT TO TIMES SQUARE WITH A BUCKET AND A BASS AND MADE ENOUGH $$ AND HERE WERE ARE - A REAL RECORD!

AGAIN THE GUYS ARE WISE TO KEEP THE SONGS SHORT SO YOU DON'T REALLY SEE THROUGH THE CONCEPT OR GET TIRED OF IT. IT'S KIND OF LIKE A VERY GOOD EXTENDED PLAY REALLY. NOT QUITE CERTIFIED GOOD BUT DEFINITELY WAY WAY MORE INTERESTING THAN OTHER INDIE ROCK TRENDS OF 2012.

FNU RONNIES - SADDLE UP! (LOAD 138)

THERE IS NO LOAD 137. SO I REMEMBER FNU RONNIES FROM BACK IN THE DAYS WHERE MY BACKGROUND MINDFUZZ WAS WFMU. THEY WOULD PLAY A LOT OF TRASHY GARAGE 7" RECORDS OF THE DAY AND FNU RONNIES WAS JUST ONE BAND I PICKED UP ON. WAS REAL SURPRISED TO FIND THEY WERE ON LOAD BUT THEN THE FULL-LENGTH MADE A BIT MORE SENSE IN THAT CONTEXT.

WHILST FNU RONNIES ONLY DID THIS ALBUM AND THEIR MEMBERS HAVE DONE LITTLE SINCE, GUEST VOCALIST MEGAN REMY IS DOING PRETTY WELL FOR HERSELF THIS VERY WEEK AS THE NEW US GIRLS RECORD IS GETTING HIGHLY-RATED. I THINK IT KINDA STINKS TO BE HONEST AS I REMEMBER WHEN SHE WAS PART OF THIS PASS-AGG GARAGEBRO WORLD AND TO BE FRANK I AM A BIT NOSTALGIC FOR THIS TIME. FNU RONNIES REMIND ME A BIT OF COUNTRY TEASERS AND A HEAVIER THE NIGHTINGALES OR THE HOMOSEXUALS. NOT THAT IT SOUNDS BRITISH DESPITE ALL THOSE BRITISH BANDS NAMED. THEY JUST HAVE THAT APPROACH - A BIT COUNTRY, A BIT OFFENSIVE, A BIT PUNK.

I STILL REALLY LIKE THIS RECORD AFTER ALL THESE YEARS. 'VALLEY OF THE WASTOIDS' IS EVERYTHING I LIKE IN A GARAGE POP RECORD. SLIGHTLY PERFORMED UNDER DURESS, A BIT ROCK BUT ALSO A BIT WEIRDO: IT SOUNDS LIKE CHROME WERE REBORN IN ACID AND LIVED TO PLAY ONE LAST SONG. THERE ARE SOME LEGIT GUITAR HEROICS HERE THAT ROSE FNU ABOVE SOME OF THEIR CONTEMPORARIES LIKE PSYCHEDELIC HORSESHIT AND RANK/XEROX.

CERTIFIED: GOOD

SKOAL KODIAK - KRYPTONYM BODLIAK (LOAD 136)

HAVE YOU HEARD OF THE COMEDIAN NORMAN COLLIER? HIS OTHER MAJOR COMEDIC INNOVATION ASIDE FROM A RIDICULOUSLY LARGE HAT WAS THE 'BROKEN MIC ROUTINE' IN WHICH HE CLEVERLY MANAGED TO OMIT RANDOM SYLLABLES TO MAKE IT SEEM LIKE HE WAS PERFORMING WITH FAULTY EQUIPMENT. GENIUSES THAT SKOAL KODIAK ARE, THEY MANAGE TO DO IT WITH EXPENSIVE SOUNDING TECHNOLOGY.

THE BASIC PROPOSITION HERE IS REASONABLY DANCEABLE GROOVES WITH WEIRD VOCAL STYLINGS OVER THE TOP. HAD SIX FINGER SATELLITE HAD THE ABILITY TO MOVE WITH THE TIMES, THEY MIGHT HAVE ENDED UP SOUNDING LIKE MINNESOTANS SKOAL KODIAK. IT'S KIND OF LIKE HOLY FUCK WITH OUTER SPACE VOCAL TRANSMISSIONS IN THE VEIN OF (BUT NOT AS GOOD AS) DAMO SUZUKI. I COULD IMAGINE THEM SUPPORTING !!! OR THE RAPTURE AND DOING WELL WITH A NORMAL AUDIENCE.

THEY HAVE ONE BASIC SONG MADE UP OF A FUNK-DERIVED GROOVE WITH SOME SYNTH EXPLORATIONS AND VOCAL UNHINGEDNESS AND IT IS A PRETTY SOLID SONG. AGAIN, LIKE WITH SEX CHURCH, I AM WONDERING EXACTLY WHAT IS LOAD RECORDS ABOUT THIS FROM A PERSPECTIVE OF AESTHETIC RIGOUR. WE HAD LOAD'S MAXIMALIST DAYGLO FURY ERA AND THEN AN ERA OF HEAVY AND DEPRESSING. BUT THIS IS JUST KINDA COMPETENT INDIE-ADJACENT MUSIC THAT DOESN'T FIT ANY NARRATIVE. MAYBE IT WILL!

SEX CHURCH - GROWING OVER (LOAD 135)

THE SECOND ALBUM BY VANCOUVER BRITISH COLUMBIA CANADA (THANKS NARDWUAR) BAND SEX CHURCH DROPS ON LOAD AND THIS IS A BAND I HAD NEVER HEARD OF AT ALL. I WAS SO FAR AWAY FROM "CHECKING THE LOAD WEBSITE" AND SOME OF THESE LATER NAMES ARE JUST NEW TO ME. WHICH IS COOL. I HAVE NO EXPECTATIONS SAVE ONLY THOSE CREATED BY THE NAME "SEX CHURCH" (NOT SURE HOW I FEEL ABOUT IT.

I GUESS SEX CHURCH HAVE A POST-BIRTHDAY PARTY FEEL. REMORSELESS GRINDING BASS, GUITARS STRUNG LIKE RAZOR WIRE, DETACHED ZOMBIE VOCALS. ORGANS FLOAT THROUGH THE MIX LIKE FUGS OF NARCOLEPTIC GLOOM. THERE'S A BIT OF TV GHOST AND SLUG GUTS AND FELLOW LOAD BAND CLOCKCLEANER HERE. I GUESS THE NIHILISTIC ASPECT FEELS LIKE THEY'RE PLAYING A BIT - THE PICTURES MAKE THEM LOOK LIKE HEALTHY WELL BROUGHT UP KIDS RATHER THAN THE SEX TOURIST VIBE OF CLOCKCLEANER. BUT THE SONGS ARE GOOD.

IT'S GENERALLY A WELL-BALANCED AND ALMOST APPROACHABLE MIX. THERE'S LIKE, CLEAN GUITARS MIXED REALLY LOW IN THAT CUTE WAY THAT POP RECORDS DO TO GIVE IT SOME WARM PUNCH. THEY TRIED TO MAKE A GOOD AND NORMAL RECORD IN THEIR STYLE RATHER THAN BASH YOU OVER THE HEAD WITH THEIR AESTHETIC. WHICH IS NICE TO LISTEN TO BUT MAYBE, AND WHISPER THIS QUIETLY, NOT VERY LOAD RECORDS.

ED SCHRADER'S MUSIC BEAT - SERMON b/w RATS 7" (LOAD 134

ANOTHER DUO - ONE CALLED ED SCHRADER, THE OTHER NOT - JOIN US ON LOAD RECORDS WITH A FAIRLY NOVEL APPROACH TO ROCKING OUT. BOTH SONGS FEEL LIKE MUSIC ROOTED IN HARDCORE AND PUNK AND GARAGE BUT WITHOUT A GUITAR OR A SNARE DRUM. IT'S BASS AND A SINGLE DRUM AND TWO SINGERS AND PUSHING THAT ULTRA-MINIMAL EQUATION AS FAR AS IT CAN GO.

HOW FAR DO THEY GET IT? WELL IT SOUNDS SORT OF LIKE A CRUNCHY BASS AND A FLOOR TOM AND SOME SHOUTING. NEITHER SONG LASTS VERY LONG AND YOU DON'T HAVE LONG ENOUGH TO MISS THE OTHER SONIC ELEMENTS. I QUITE LIKE THE APPROACH BUT I GUESS I'M NOT EXACTLY THIRSTING FOR IT EITHER.

POST-LOAD RELEASES BY ED SCHRADER'S MUSIC BEAT WOULD EXPLORE A WIDER AND MORE CONVENTIONAL SONIC PALETTE AND TO BE HONEST I PREFER THEM. I'D BE INTERESTED TO SEE, ACCORDING TO THESE GUYS, HOW MUCH THEY THING THIS ULTRA-STRIPPED APPROACH CONTRIBUTED TO WHAT THEY DO NOW. LIKE, WHEN BRIAN ENO WAS ASKED TO DO THE WINDOWS 95 STARTUP JINGLE, HE REALISED HOW MUCH YOU COULD DO IN 3 SECONDS SO MUCH THAT 3 MINUTES OF A REGULAR SONG FELT LIKE AN OCEAN. SOMETHING TO THINK ABOUT. OR NOT.

BLACK PUS - PRIMORDIAL PUS (LOAD 133)

ONE SIDE EFFECT OF IGNORING LIGHTNING BOLT WAS ALSO NOT REALLY PAYING ATTENTION TO THEIR SIDE PROJECTS. BLACK PUS IS BRIAN "DRUMS" CHIPPENDALE DOING A KIND OF POST-DURACELL THING - DURACELL WAS THIS FRENCH DUDE WHO USED TRIGGERS AND PEDALS WHILST DRUMMING TO BE A COOL ONE MAN BAND. HE USED TO COVER LIGHTNING BOLT. I THINK BRIAN SAW THAT AND TOOK IT IN HIS OWN WEIRDO DISTORTO MAYHEM DIRECTION. IN MANY RESPECTS I HAVE NO IDEA OF THE PROVENANCE OF LOTS OF THESE SOUNDS. ARE THEY LOOPS? ARE THEY PRE-PROGRAMMED?

I SUPPOSE THIS IS NOT A MILLION MILES FROM LIGHTNING BOLT, ONLY THE CUTTING POWER OF A BLAZING BASS GUITAR IS REPLACED BY A PSYCHIC MIASMA OF A WHIRLWIND OF TRIGGERED EFFECTS AND CHANTED VOCALS. THIS ONE MAN DOES A BETTER TRIBAL PSYCH THAN AKRON/FAMILY AND GANG GANG DANCE MANAGED PUT TOGETHER. I PRESUME THAT THE DRUMMING IS MORE RESTRAINED IN ORDER TO ALLOW WHATEVER THEY TRIGGER TO BREATHE A LITTLE MORE IN THE SONG. BUT THIS ACTUALLY KIND OF HELPS. IT DOESN'T SOUND LIKE "LIGHTNING BOLT GUY DRUMS TO LOOPS" AT ALL!

THE DRUMMING IS ACTUALLY MORE PRESENT AS DRUMMING - TIM HARRINGTON FROM LES SAVY FAV ONCE QUIPPED THAT BRIAN'S DRUMMING IS MORE LIKE A CONSTANT LOW FREQUENCY NOISE, SUCH IS ITS SPEED AND FRANTICNESS - SO MAYBE WHAT I AM LURCHING TOWARD HERE IS THAT BLACK PUS HAVE OUT-ROCKBANDED SEVERAL ROCK BANDS WHILST TAKING A NON ROCK APPROACH. I LIKE IT.

DAILY LIFE - NECESSARY AND PATHETIC (LOAD 131)

JUST WHEN I GET OUT THEY PULL ME BACK IN! I THOUGHT KITES WERE BEHIND ME BUT AS SOON AS THAT PROJECT DIES HE IS REBORN AS DAILY LIFE. TO BE FAIR THIS IS A BAND WITH SOMEONE CALLED SAKIKO (NO BIO AVAILABLE) SO I AM HITTING THE MENTAL RESET BUTTON AND TAKING THIS AS SOMETHING *NEW*.

I GUESS THE STYLE IS MINIMAL WAVE? COLD DISTANT SYNTHS AND RHYTHMS THAT SEEM LIKE BASIC PROGRAMS OF EARLY ORGANS AND RHYTHM MACHINES. I DON'T KNOW WHETHER THIS IS BECAUSE I AM SURPRISED OR WHETHER THIS IS ON MERIT BUT I QUITE LIKE THIS MINI-ALBUM. IT FOCUSES AROUND A SMALLER NEXUS OF SOUND AND USES POP-ISH PARAMETERS TO CHANNEL ENERGY. 'HALL OF MIRRORS' AND 'ROGUE FATE' HAVE GORGEOUS AND IDIOSYNCRATIC TONES. I AM WARMING TO THIS GREATLY!

THERE AREN'T ENOUGH PICTURES OF DAILY LIFE ONLINE. THIS IS THE BEST I CAN DO. ANYWAY. I CAN'T BELIEVE I AM DOING THIS BUT THE DUDE FROM KITES WHO MADE TWO OF THE WORST RECORDS I HEARD IN QUITE A WHILE TURNS OUT TO BE A VERY GOOD PART OF A VERY INTERESTING POP-ADJACENT RECORD. IF YOU LIKE COLD CAVE OR YOU WISH JUNIOR BOYS HAD A WEIRDER SUPPORT BAND, DAILY LIFE ARE FOR YOU.

CERTIFIED: GOOD

CLOCKCLEANER - AUF WIEDERSEHEN EP (LOAD 130)

A LITERAL TITLE THEN AS CLOCKCLEANER CALLED IT A DAY AFTER THIS DROPPED. I CAN SEE WHY. 2010 SEEMS TO HAVE BEEN THE TIDE TURNING AGAINST NON-POP, NON-ELECTRONIC, NON-IRONY CAPSIZED MUSICS. WHENEVER I SEE SOMETHING RELEASED IN A HEAVY GENRE RELEASED POST 2010 I KIND OF SIGH MELANCHOLICALLY. LIKE WELL DONE FOR FIGHTING THE GOOD FIGHT BUT ALSO KNOW YOU'RE DOOMED TO IRRELEVANCE. NO ONE WILL COME BACK FOR YOUR CORPSE.

 

FOR AN EP YOU GET PRETTY DECENT VALUE HERE: 24 MINUTES WORTH OF MUSIC. I WOULD HAZARD A GUESS THAT THIS IS AN ABORTED ALBUM. NOTHING FEELS STOPGAP ABOUT IT. IT'S SOLID, WELL-CONSIDERED, LESS SNEERY AND MORE MELODIC THAN THE 2007 ALBUM. GROUPS ON SACRED BONES LIKE SLUG GUTS WOULD KIND OF RUN WITH CLOCKCLEANER'S SOUND, I NOW REALISE. 

NONE OF THESE WOULD LESSEN OR SOUND OUT OF PLACE ON THE LAST RECORD BUT THEY DON'T PARTICULARLY HANG TOGETHER TO MAKE A RECORD QUITE AS GOOD AS THAT. IF YOU LIKE CLOCKCLEANER'S BASIC SOUND THEN YOU SHOULD DEFINITELY CHECK THIS ONE OUT. FARE THEE WELL.

SWORD HEAVEN - GONE (LOAD 129)

THE MIDWESTERN INDUSTRIAL DUO ARE BACK AND THEY'VE NOT CHILLED OUT A JOT. IF YOU'RE IN THE MARKET FOR A RECORD THAT IS COMPLETELY HELLISH THEN FIND "GONE" BY SWORD HEAVEN AT YOUR LOCAL DEALER OF ABSOLUTELY BRUTAL RECORDS.

THIS IS LIKE THE DEMENTED GURGLINGS AND HOWLINGS OF A GULAG OR SLAVESHIP COMMITTED TO TAPE. DEEP THUNDEROUS PERCUSSION RUMBLINGS WITH GRIM TEXTURES AND ANTI-MELODIES FROM THE SLOUGH OF DESPOND. IT'S LIKE AN ALEXEI GERMAN FILM COME TO LIFE. JUST PURE HORROR. IT'S LIKE AN INDUSTRIAL MUSIC THAT WAS INVENTED IN A SOVIET PRISON OF THE 1920S.

IT'S JUST THREE TRACKS AT JUST OVER 30 MINUTES BUT IT LANDS A LOT OF PUNCHES IN THAT TIME. ON THE WHOLE I PREFER ENTRANCE A BIT MORE. THIS SHEDS SOME OF THE CREEPY SEX ASPECT OF THAT RECORD BUT I DON'T THINK WHAT IS LEFT IS SOMETHING I WANT TO CONFRONT TOO OFTEN. NO IDEA HOW YOU COULD RETURN TO THESE IDEAS TIME AND AGAIN AS A 'TOURING ROCK BAND'. CHRIST.

DRUNKDRIVER - SELF TITLED LP (LOAD 128 - CANCELLED!)

THIS IS A POTENTIALLY NAUGHTY THING TO DO BUT LOAD 128 WAS MEANT TO BE DRUNKDRIVER'S DEBUT LONG PLAYER. BEN ENDED UP CANCELLING THE RELEASE AS SOME RUMOURS ABOUT DRUNKDRIVER'S DRUMMER CAME TO LIGHT AND PUT PAID TO THE BAND'S CAREER. I WILL GO INTO THAT AS MUCH AS THE RECORD. IT SEEMS TO ME THAT, BY TOTAL ACCIDENT, THIS WAS THE BEGINNING OF THE END FOR LOAD RECORDS.

JEREMY, DRUMMER IN DRUNKDRIVER, USED TO PLAY IN A GROUP CALLED WIVES. HE WAS SACKED AND WIVES SPLIT TO REFORM AS NO AGE, WHO ENJOYED CONSIDERABLE SUCCESS AROUND THIS TIME. WHY WAS HE SACKED? HE WAS ACCUSED OF SEXUAL ASSAULT OR EVEN FLAT-OUT RAPE. HE PACKED UP, MOVED CITY, JOINED DRUNKDRIVER, BEGAN A RELATIONSHIP WITH THE GUITARIST KRISTY. BUT THE ACCUSATIONS FOLLOWED HIM AND THE SINGER TOOK THE DECISION TO END THE BAND. HE NOW PLAYS IN THE INDUSTRIAL GROUP UNIFORM WHO ARE PRETTY GOOD.

DRUNKDRIVER HAD BEEN GOING FOR ABOUT 3 YEARS WHEN THE ACCUSATIONS RE-SURFACED. JEREMY ADDRESSED THEM QUITE BADLY ONLINE TO BE HONEST. IT MADE ME THINK BY CONTEMPORARY STANDARDS HE CERTAINLY DID SOMETHING WRONG. THE BAND HAD GAINED A STELLAR REP FOR THEIR SHORT RELEASES AND FURIOUS LIVE PERFORMANCES. I WAS PUMPED FOR THIS ALBUM. ABSOLUTELY GASSED.

THEN CAME WORD IT WAS CANNED. KRISTY BOUGHT THE PRESSED COPIES AND PUT THEM UP FOR SALE AND I COULD NEVER AFFORD TO GET ONE SENT OVER. I THINK THIS RECORD WOULD HAVE PUSHED LOAD INTO A NEW ERA OF RELEVANCE. INSTEAD IT WAS THIS BIG PROBLEM. THE REALISATION OF WHAT HAPPENS WHEN YOU PLAY IN NEGATIVE ENERGY.

BUT I OWN IT DIGITALLY AND I STILL LIKE IT. IS THIS A PROBLEM? NOT FOR ME. I'D CALL IT CERTIFIED GOOD IF IT WAS ON LOAD. BUT IT IS NOT. IT IS A CURIO AND A SIDE NOTE NOW. IT IS GREAT FLAMETHROWING NOISE-HARDCORE AND THE DRUMS OF A BAD MAN DON'T SUFFICIENTLY COLOUR MY RECEPTION. NOW IF HE WAS THE SINGER, I'D SAY IT WAS DIFFERENT. STRANGE HOW IT WORKS.

MORE

TINSEL TEETH - TRASH AS THE TROPHY (LOAD 127)

TINSEL TEETH ARE A NEW (CONTEMPORARY TO THE RELEASE) PROVIDENCE BAND THAT PLOUGH THAT LOAD RECORDS SUBTEXT OF VAGUELY BIRTHDAY PARTY-ISH POST-PUNK/NOISE-ROCK. IN FACT THEY REALLY REALLY REMIND ME OF RICHMOND, VA BAND SEVEN HEARTS. I DON'T KNOW WHAT HAPPENS TO AMERICANS WHO HEAR THE BIRTHDAY PARTY BUT IT TRANSMITS THAT SOUND INTO SOMETHING MORE "ALCOHOLIC FARMER ON A SPREE KILL" BUT I LIKE IT.

THEY'RE ALTOGETHER MORE FRANTIC THAN THE LANGUID BIRTHDAY PARTY TO BE HONEST. ALSO, OF POSSIBLE INTEREST, IS THAT TINSEL TEETH HAVE A FEMALE SINGER WHO DOESN'T SOUND LIKE A TYPICAL FEMALE SINGER (EVEN IN THE DOMAIN OF AVANT/WEIRD GUITAR MUSIC). IN FACT SHE SOUNDS QUITE A LOT LIKE DAVID YOW DURING A DENTAL EXTRACTION. THERE'S ALSO A POSSIBLE COMPARISON TO ITALIAN GROUP LUCERTULAS TO BE MADE BUT I THINK THAT'S JUST A SMARTASS COMPARISON. BOTH GOOD BANDS THOUGH!

I'D FILE THIS ALONGSIDE BUSINESS LADY AS BANDS THAT ARE SOMEWHAT APPROACHING CONVENTIONALITY (THERE ARE MELODIES AND SONG-STRUCTURES IN THERE) THROUGH CHAOS. BOTH SOUND LIKE THEY'D BE FUN LIVE AND PRETTY WILD AND THEIR RECORDS BRING IT SOLIDLY WITHOUT BEING COMPLETELY MINDBLOWING.

LIGHTNING BOLT - EARTHLY DELIGHTS (LOAD 126)

SO I HAVEN'T REALLY HEARD ANY OF THE RECENT FOUR FULL-LENGTH LIGHTNING BOLT STUDIO RECORDS OR EVEN THE COLLABORATIVE STUFF THEY DID WITH THE FLAMING LIPS. AS I SAID IN THE REVIEW OF HYPERMAGIC MOUNTAIN - IT WAS NOT A RECORD THAT LEFT ME WANTING MORE. BUT ALSO THE GAP BETWEEN 2005 AND 2009 WAS, FOR ME, QUITE A BIG ONE IN TERMS OF LIFE-CHANGINGNESS. I WASN'T GOING TO DIY SHOWS SO MUCH ANYMORE AND IT FELT LIKE THE WORLD HAD SPLIT BETWEEN THE BANDS THAT MADE IT AND JUMPED TO HIGHER TIERS OF INDIE ROCK AND THOSE THAT DIDN'T AND WENT BACK TO DAY JOBS OR DETACHED NON-ROCK PROJECTS.

THIS ISN'T ANY RADICAL DEPARTURE OR 'ARTISTIC MATURATION'. THERE'S A CLEANER ASPECT TO THE BASS AND A BIT MORE SEPARATION IN THE MIX. MAYBE NOT ALWAYS AT FULL GUN FRANTIC. BUT IT IS BASICALLY LIGHTNING BOLT DOING WHAT THEY DO. MAYBE IT'S NOT QUITE AS INNOCENT OR PLAYFUL AS PREVIOUS RECORDS. I STILL DON'T FEEL I WAS WRONG TO CHECK OUT ON LIGHTNING BOLT TO BE HONEST.

THERE'S SOME COOL STUFF AND CLOSING FREAKOUT 'TRANSMISSIONARY' IS REALLY COOL (THOUGH IT REMINDS ME OF A GY!BE SONG FOR SOME BIZARRE REASON, SAME SCALE I'D IMAGINE) BUT THE AGE OF LIGHTNING BOLT AS A SIGNIFYING FORCE OF IMPORTANCE SEEMS TO HAVE PASSED. IF YOU LIKE THEIR EARLIER WORKS IN A MORE UNCRITICAL SENSE THEN THERE IS NO REAL CHANGE HERE AND YOU SHOULD GET THIS.

SIX FINGER SATELLITE - HALF CONTROL (LOAD 125)

THERE IS NO LOAD 124 AS FAR AS I CAN TELL. LOAD 125 SEES SIX FINGER SATELLITE, WHO HAVE PROBABLY DECLINED AS A FORCE JUST AS QUICKLY AS LOAD HAVE GROWN, RETURN TO THE FOLD. THAT SAID THE LAST TIME THEY WERE 'IN THE FOLD' WAS TO THROW OUT A STOP-GAP RELEASE BETWEEN BIG INDIE LABEL ALBUM DROPS AND THIS IS MORE OF THE SAME!

HALF CONTROL IS ACTUALLY A RECORD MADE IN 2001 AND SHELVED AND THEN RE-RELEASED TO ACCOMPANY THE BAND RETURNING FOR A GO AROUND WITH DAN ST. JACQUES ON BASS. I HAVE NO IDEA IF HE IS HERE BUT SIX FINGER SATELLITE'S FLIRTATION WITH LOAD AND THE PROVIDENCE GUYS WITHOUT EVER FULLY COMMITTING IS A STRANGE ONE. I DON'T SEE HOW ANY OTHER LABEL COULD HAVE DONE MORE FOR THEM REALLY.

TO BE HONEST, WHILST THIS ISN'T BAD, I CAN SEE WHY THIS WAS SHELVED. IT'S COMPETENT AND SONGLY BUT ALMOST COMPLETELY HOOK-FREE AND FORGETTABLE. THEIR BEST SONGS HAVE THESE INDELIBLE HOOKS THAT GET THEIR CLAWS INTO YOU. THIS ONE IS OVER-SERIOUS AND ONE-PACED. I HOPE THE PROPER ALBUM THEY RELEASED THAT YEAR WAS BETTER THAN THIS.

RUSTED SHUT - DEAD (LOAD 123)

RUSTED SHUT ARE ONE OF THOSE BANDS THAT I FEEL ONLY AMERICA, IN ITS VAST YAWNING SPACES PUNCTUATED WITH DYING CORRODED TOWNS RIPPED APART BY WHITE FLIGHT AND LATE CAPITAL, CAN PRODUCE. BANDS THAT STAY TOGETHER FOR YEARS PRODUCING THE SAME RECORD TIME AND AGAIN THAT VERY FEW PEOPLE SAVE THE BAND MEMBERS WANT TO ACTUALLY HEAR. I THINK IT IS GREAT. MEANING IN LIFE IS HARD TO FIND. SOMETIMES YOU HAVE TO MAKE IT.

HOUSTON GROUP RUSTED SHUT ARE ONE SUCH BAND, FORMING IN 1986 AND POSSIBLY STILL BEING AROUND TODAY TO THE ACCLAIM OF VERY FEW. THEY'RE A GROTESQUE DOWNER OF A BAND. THE GUITAR SOUND (ACCENTUATED BY HISS AND GROT IN THE RECORDING) IS THE EMBODIMENT OF THE BAND'S NAME, A KIND OF OXIDISED OBSOLESCENCE IN MUSIC. THE BAND CRAWL ALONG WITH IT OBLIGINGLY. AESTHETICALLY: RUSTED SHUT ARE REALLY RIGOROUS.

IT'S LIKE SLOW CREEPY GARAGE ROCK PLAYED BY NIHILISTS BUT WAY BETTER THAN BRAINBOMBS. IT'S NOT QUITE A CERTIFIED: GOOD RECORD BUT IT IS IN THE UPPER PERCENTILE OF LOAD RELEASES. IT IS EXTREMELY LEGIT.

THE USA IS A MONSTER - SPACE PROGRAMS (LOAD 122)

THE USA IS A MONSTER ARE BACK AND THIS TIME THEY HAVE BROUGHT AN UNDERSTANDING OF THE WORD "CONCISION". OVER AN ACCEPTABLE ALBUM LENGTH OF JUST UNDER 40 MINUTES THEY RETURN TO US, OUR UNDERRATED SONS OF THE ROAD AND FIELD.

THERE IS A SLIGHTLY PERVERSE ASPECT TO THIS RECORD (THAT ON THE SURFACE APPEARS TO BE A MORE APPROACHABLE VERSION TO A BAND THAT HAVE BEEN SKATING QUITE CLOSELY TO APPROACHABILITY) IN THAT THERE IS SOME EXTRA AUGMENTATION (TRUMPET) BUT THEY'RE STILL NOT INTERESTED IN "FILLING OUT" THE SOUND WITH A BASS GUITAR OR A SECOND ELECTRIC GUITAR OR WHATEVER.

ANYWAY: SPACE PROGRAMS IS ANOTHER GOOD ONE FROM THESE GUYS. IT IS DEFINITELY SOMETHING THAT CONTINUES THE GENTLER APPROACH TO ANGER THAT SUNSET AT THE ETC DEVELOPED. THEY'RE A BUNCH OF MELODIES THAT NO OTHER ROCK ENSEMBLE WROTE BEFORE AND THEY'RE PLAYED AND RECORDED WITH A GOOD AMOUNT OF ENERGY. THERE'S "MATHY" SECTIONS AND PEACED-OUT NEW AGE TOKING SECTIONS AND ROCK AND ROLL. THEY'RE A GOOD BAND. UNDERRATED. TRULY.

I QUITE LIKE THE LUCID DREAM MEETS WARPED COUNTRY ROCK OF 'TULSA' THOUGH I CAN HONESTLY SAY I DON'T DISLIKE ANYTHING HERE. COLIN AND TOM DID A GREAT JOB AND THEN WENT AWAY AND WHAT'S THIS? THEY'RE BACK TOGETHER! REJOICE!

CERTIFIED: GOOD

HARRY PUSSY - YOU'LL NEVER PLAY THIS TOWN AGAIN (LOAD 121)

IN 2020 BILL ORCUTT IS SOMETHING OF A VENERABLE FIGURE OF AVANT GUITAR. MY OWN SAINTED PARTNER EVEN SAW HIM AT SOME REVERENTIAL FESTIVAL IN EUROPE AND PICKED UP AN LP OF HIS AND WHADDYA KNOW IT IS REALLY GOOD (SIX-STRING ACOUSTIC STUFF MOSTLY). WHY AM I SAYING THIS? WELL BECAUSE TO MY EARS WHEN I FIRST HEARD HARRY PUSSY IN APPROXIMATELY 2002 (RIP LAUNCHPLAYER) I WAS FIRMLY OF THE OPINION THAT WHAT THEY DO IS "NOT MUSIC".

I'M NOT GOING TO SAY THAT I NOW SEE THE ABSOLUTE GENIUS OF HARRY PUSSY BUT I AM DEFINITELY MUCH MORE ON BOARD HERE. THEY'RE DEFINITELY A GROUP OF PIONEERS THAT DEVELOPED AN INVENTION NO ONE WANTED: AVANT-GARDE LO-FI PERFORMANCE ROCK THAT TEETERS BETWEEN BROKEN SONGS AND INTERNAL ECSTASY THROUGH FULL-FORCE TECHNICAL REJECTION. THEY'RE ABRASIVE AND NASTY AS HELL. BUT! THIS IS A COMPILATION OF LIVE PERFORMANCES. THEY TOOK THIS OUT ON THE ROAD. THEY PUT IT IN FRONT OF PEOPLE. THAT SHIT IS WAY MORE POWERFUL THAN PUTTING CRAP TO DISC IN A BEDROOM. *ANYONE* CAN DO THAT.

THE DRUMS ARE THRASHED WITH WILD ABANDON AND THE VOCALS SHRIEKED (AT TIMES I THOUGHT SOMETHING HORRIBLE WAS HAPPENED IN THE ROOM RATHER THAN A SONG BEING PLAYED) CONSTANTLY BUT YOU CAN HEAR THESE INCREDIBLE LITTLE TECHNIQUES. ORCUTT'S GUITAR SOUNDS LIKE BED SPRINGS BEING UNCOILED AND SNAPPED BACK, ALL THE RUST FLYING OFF THROUGH THE AIR. IT'S IMPRESSIVE. AND BECAUSE NO SONG REALLY LAST VERY LONG, YOU DON'T HAVE THE SENSE OF OPPRESSION THAT CAN BUILD ON A SHIT AVANT RECORD LIKE NAUTICAL FUCKING ALMANAC.

I MIGHT BE OFF MY MIND BUT I AM GIVING THIS CERTIFIED: GOOD WITH A WARNING THAT YOU MIGHT VERY WELL HATE THIS.

OvO - CROCEVIA (LOAD 120)

CROCEVIA OR "CROSSROADS" FOR MY NON-ITALIAN SPEAKING READERS RETURNS US TO THIS GUITAR/DRUMS DUO THAT DO SEEM KIND OF AT-ODDS WITH ANY ERA OF LOAD BEFORE OR SINCE. THEY HAVE THE SAME KIND OF STRIPPED-BACK APPROACH AND DIY LIFER MENTALITY FOR SURE. AND I GUESS THERE'S NOT A MILLION MILES BETWEEN A GROUP LIKE OvO AND HOSPITALS (FOR EXAMPLE). I CAN'T PUT MY FINGER ON IT. IS IT THAT OvO SEEM SO VERY...EUROPEAN?

 

THE DUDE CAN DRUM AND THE BASIC CHORDAL GUITAR SOUND IS CRUSTY AND CONVINCING. IT'S JUST THIS TIME I'M HAVING A LOT OF TROUBLE GOING ON OvO'S JOURNEY. THE SONGS ARE ALL HALF-FORMED AND BASICALLY SAMEY. LAST TIME OUT, YOU MIGHT RECALL, THERE WERE THESE MAD PERFORMANCE INTERLUDES OF OPERATIC INSANITY. THEY'RE NOT HERE AND WHILST I WAS NOT EXACTLY THIRSTING FOR THEM LAST TIME I CAN SEE HOW THEY GIVE A LOT OF SHAPE TO AN OvO RECORD.

 

DON'T GET ME WRONG, IT ISN'T RATED RANCID AND THERE ARE SOME COOL RIFFS, NICE RAT-A-TAT DRUM SMASHING AND SEGUES BETWEEN SECTIONS. BUT ON THE WHOLE IT FEELS LIKE A DIET VERSION OF THE VARIOUS AMERICAN BANDS IT IS AT THE PARTY WITH.