#psychojazz

[villainessbian]

Psychojazz induction

jazz-induced psychosis

[genericrecordreviews]

Crazy Doberman, —/haunted, non/haunted (Torn Light, 2019)

Having spent the better part of the year locked in my home with no access to the joys of playing with people, I started having real feelings towards Crazy Doberman. Their MO is almost completely at odds with my current situation, and I started listening to them with a mix of envy and escapist fervor.

They are an open collective that mostly operates by storming any studio and recording free-form jams with a variable number of musicians (2 to 17), editing them down to a digestible size and releasing them. By releasing practically everything they do, they fuck with the essence of what making music means. Most musicians are lakes: a river of creativity flows in and another, different stream comes out. Crazy Doberman are a shallow pool in between waterfalls. Everything is in constant flux, and the music is so raw, the musicians are barely there.

Unfortunately, living in Europe, I haven’t been able to find most of their records and tapes at affordable prices, but I recently scored —/haunted, non/haunted from a local distro. In comparison to other CD works, this one is, excuse the pun, more haunting. Whereas in the s/t album on Mastermind they had adopted a psychedelic, colorful approach to their psycho-jazz skronk, they went way darker on this one. Everything is wailing in pain: synths, horns, vocals and strings, at times challenged by unruly drums and percussions. And when they’re not wailing, they’re booming, crackling, slithering out of control.

The record is short (33 minutes) but moves slowly, alternating cold, sharp stretches of industrial noise and disjointed free jazz, until everything comes together for the last monster track “No Body” (one of their finest moments in my opinion), equally frightening and exciting. This isn’t background music: it requires your full attention and is best enjoyed at high volume and without distractions. This came out in 2019, which means that CD have probably released a dozen more sessions of fucked-up improvisations filled with bum notes, sharp cuts and a glorious sense of freedom.

Click here to listen to ---/haunted, non/haunted on Bandcamp.

Follow GRRAWR on Instagram to get a record review every Wednesday in your IG feed.

[sweetblahg]

sweetblahg 2018 year in review

75 Dollar Bill (big band) - 9.23.2017 @ The Hideout Block Party

CAVE - 12.31.2017 @ Hungry Brain

Wolf Eyes - 3.1.2018 @ The Owl [5 sets]

ADT - 3.9.2018 @ Elastic

Nick Millevoi’s Desertion Trio - 3.14.2018 @ Elastic

2018 Festival of Large HearingOrgans - 3.22-25.2018 @ Knoxville, TN

Joshua Abrams & Natural Information Society - 4.21.2018 @ The Hideout

Gunn-Trucinski Duo - 4.21.2018 @ The Hideout

Wet Tuna - 5.3.2018 @ The Hideout

Chris Forsyth & The Solar Motel Band - 5.4.2018 @ The Hideout

Sunwatchers - 5.4.2018 @ The Hideout

Universal Eyes [Wolf Eyes + Universal Indians] - 5.25.2018 @ El Club

The Art Ensemble of Chicago - 5.25.2018 @ El Club

Bitchin Bajas - 6.15.2018 @ Hungry Brain

Neil Young - 6.30.2018 @ Auditorium Theatre

Radiohead - 7.6-7.2018 @ United Center

CAVE - 7.28.2018 @ The Empty Bottle

Guerilla Toss - 9.22.2018 @ The Hideout

[guri-shiningpath]

Beast and beast . #80s #lady #doberman #psychojazz (at דיזנגוף סנטר תל אביב) https://www.instagram.com/p/BpRV9oJBjMJ/?utm_source=ig_tumblr_share&igshid=1slyqr7tweuwl

[pfcidb]

johnolson #solo #psychojazz #zones (at Hideout Inn)

[teguicigulpa]

KILLER STACKED PACKAGE IN RICHMOND TONIGHT. 

FAR FUCKING OUT POSTER BY JOE LEGZZ.

[protein-music]

Groxi (Drums, Percussion, Guitar), Boris Baral (Double Bass, Guitar, Perkussion, Piano) Tobias “Protein” Laemmert (Guitar Percussion) Live at Import/Export on the @munichagain Liquid jams night 27.6.2018

Some weird PsychoJazz or whatever...recorded by Daniel Door on a Handheld Recorder. Sounds pretty good.

[tinymixtapes]

Music Review: OBNIVM - Robot!

OBNIVM Robot! [Never Anything; 2019] Rating: 3.5/5 Despite popular perception, Seattle sees less yearly rainfall than other US metros like Chicago or New York. During the fall and winter months, though, the Olympic rain shadow does experience a higher percentage of “rain days.” In this time, a constant cloudiness and light shower is like a faucet drip or encyclopedia of breezes. It is a perennial hail-haze, one that seems to blotch out time, space, and all matter. Like something out of J. G. Ballard, the perception of consistent foul weather and the performance of its avoidance engenders a sometimes surreal sort of micro-social recess in the Emerald City. This is a time when coprophagic grins dance like trash-happy gulls, a time when you see some truly upsetting and/or wacked-out shyt on Third. Naturally, though, Seattle’s seasonal siesta also provides fertile ground for indoor re-creation, of which there are, of course, numerous thankless vectors. At the top of the break appears Robot!, the latest from Seattle’s very own Never Anything, c/o OBNIVM. Possessing precise magnitude and direction, Robot! also retains a certain whimsy and playfulness. This endows it with a necessary human signature that thankfully clouds any overweight themes. Robot! by OMNIVM So, is that a question or a comment? Regardless, it all begins now, before the drama happens, with rhetorical exercise “Who Are The Parents, Here?,” introducing the record’s rich palette of glacial synths and blippy-rhythmic start-stutters. Timbre and time signature so obfuscated it could be anything, an aura, or homework, or it could be your next screen-induced memory lapse. Robot! organically liquidates itself with novelty to remain fresh at each movement. This is the part where you probably expect me to talk about A.I. And so consider “Human or Mechanical Hands?” Starting with a multilayered synth plucked straight from Rosecrans, the sketch achieves ascent with a moderate vibrato, coupled with a slow-bumping grind. As far as sequencing goes, it’s like nothing before or after it, staking an individually-earned place in Robot!’s sonic toolkit. Regurgitated radio chatter babbles to a froth on the next track, “They Don’t Like Psychojazz,” recapitulating some whispered digital-oral phylogeny as it signs on and off. It’s the only unambiguously human voice on the whole record. Each track provides something slightly different while making a logical next step from the last. In this way, Robot! benefits from cohesion, indicating a considered and apropos artificial nature. Likewise defined by an un-lyrical sense of humor (e.g., “All Robots Watch Clockwork Orange”), the following tracks, too, remain slippery while wet. And yet the record lacks defined hooks; it’s more of a freewheeling exercise in rhythmic improvisation and general instrumental provocation. Technological portraits emerge like pale ghosts, but stubbornly refuse to reveal meaning in any self-reflexive way. Unpredictable variations on the face and form give light to the compositions, but the ciphers themselves do not stand on their own; each one only makes sense in the context of its genus. And so Robot! aspires to singularity, but really comes off more like grey goo; there is no tragic climax. Like a libretto, this product of Seattle’s regular rain-check follows Asimov’s laws along the barest geometries of time and space, making for an adequate expression of life before the future. http://j.mp/2n4opK4

[genericrecordreviews]

Tropical Trash, Southern Indiana Drone Footage (National Waste Products, 2019)

So between Louisville, KY, where the Tropical Trash band lives, and Southern Indiana runs the Ohio river. I’ve never been to neither of these places, but I grew up on the South Bank of the biggest river in Italy. If I’d written a post-punk-psychedelic-noise-rock record of my own, I could’ve called it South-Eastern Lombardy Drone Footage (‘Filmati da Drone del Sud-Est Lombardo’) and it would’ve probably had a similar sentiment. To grow up by a border means not belonging to any place. It’s easy to feel like a mutant, and SIDF is definitely the product of mutants.

It just sounds like they’ve been playing together a lot, which is definitely true because they’ve been touring a lot and they’re constantly working on music either with TT or various side projects. So you can feel the comfort and the confidence in these songs. Some are “hits", straightforward rock songs that grab you by the collar and shake you until you burst out laughing; some are free-noise fragments sent hurling in space that could easily land this record in the “psycho-jazz” section at the record store; some are a little bit of both, catchy songs that experiment with structure and sound.

But the real magic is in the details. The recording: crisp and clean, but also alive with little sounds that reverberate in the background. The lyrics: a long string of non-sequiturs and absurd images that could irritate you or fascinate you, but are impossible to ignore. And the drums: behind the wall of guitars and clarinets and whathaveyou, the drummer Sal does such an amazing job on this record—he's never over-the-top and he's appropriately repetitive when he needs to, but he also takes chances and adds a lot to the mood.

It’s also worth noting that the album doesn’t have any of those toxic mean vibes that have driven a lot of people away from noisier shades of rock. It’s a feel-good record made by mutants, “a psychic fold in the wind”, a road map for car-dogs on their way home.

Click here to listen to Southern Indiana Drone Footage on Bandcamp.

Follow GRRAWR on Instagram to get a weekly record review every Wednesday in your IG feed.

[hotjellyinthemorning]

#psychojazz #psychojazzfamily #jazz #wolfeyes #trippy #family #lsd #weed #hash #art

[art--damage]

NO RESPONSE PRESENTS:   A NO RESPONSE FESTIVAL PRE-GAME! W/ WOLF EYES (Michigan Psychojazz Tripmetalists) http://wolfeyes.net/ PHARMAKON (Sacred Bones Industrial Noise) https://pharmakon.bandcamp.com/ CONTAINER (Raw Minimal Techno Heavyweight) https://soundcloud.com/gentledefect TWIG HARPER (Ex-Nautical Almanac Weirdo) -------------------------------------------------------- Wednesday, May 24th Doors: 8pm Music: 9pm 18+   $10 The Mockbee 2260 Central Pkwy. Note: We'll have tickets for the upcoming No Response Festival available at this show.  More info on that shortly. ---------------------------------------------------------- WOLF EYES Born in the dead, dread-filled haunted hills of Michigan, Wolf Eyes are the rabid beasts of Trip Metal & have been plowing thru new tunnels of the underworld since 1997. Pure audio stunn, homemade post-nuclear terror & claustrophobic atmospheres -- the most shattered and confusing horrorvision since Bo Diddley dropped the duct taped warhead on all humans in 2024. ---------------------------------------------------------- PHARMAKON Margaret Chardiet was born and raised in New York City. She has been making power electronics / death industrial music under the name Pharmakon for five years. As a founding member of the Red Light District collective in Far Rockaway, NY she has been a figurehead in the underground experimental scene since the age of seventeen. Several projects emerged from the Red Light home/ venue during the four years Chardiet lived there including Yellow Tears, and Halflings amongst others. She points out that the environment there amongst so many other experimental artists inspired her to keep pushing herself and making increasingly challenging work. She describes her drive to make noise music as something akin to an exorcism where she is able to express, her "deep-seated need/drive/urge/possession to reach other people and make them FEEL something [specifically] in uncomfortable/ confrontational ways." The project is also an opportunity to exorcise her own demons and examine her own wild thoughts by pushing them outside of her head. Engineered by Sean Ragon of Cult of Youth at his self-built recording studio Heaven Street, Abandon is Pharmakon's 1st proper studio album and also her first widely distributed release. ---------------------------------------------------------- CONTAINER Container is the stripped-down, beat-oriented electronic project of Providence, RI's Ren Schofield, who somehow sculpts viscous punk sonics into raw jackhammer rhythms that groove in the most relentless, hypnotic, unstoppable and psychedelic ways currently working the grid. This lo-fi mesh of maxed-out drum patterns, spiralling loops and mesmerising arrangements makes for live music of serious weight and function, suitable for both high-end dancefloors and filthy warehouse parties alike.Started in 2009 in response to his discovery of nineties minimal techno, Container combined elements from his background in noise and cassette collage music with a new found interest in repetitive beats to create this raw and damaged rhythmic sound. After a string of various cassette releases, the debut full-length LP was released by Editions Mego sub-label Spectrum Spools in 2011, and has since been followed up by a second Spools LP, the Treatment 12" on the Morphine label, and a new 12" on Mute's Liberation Technologies imprint which will be dropping this Fall. ------------------------------------------------- TWIG HARPER The oceanic movement, convergence, and collision of underground networks is something Americans have become honor bound to celebrate —it’s cool, and it’s been cool. The coolness factor rises the more said network affects the larger, uncool, mass culture, so Twig Harper’s multi-decade sweep of the underground gradually modifying it, inventing it, sculpting it, and often just giving gentle suggestions, probably isn’t going to be served up documentary flambéed anytime soon —no coffee table books of circuit bent electronics, homemade lathe cuts, or consciousness awakening book covers coming anytime soon. There’s something disingenuous about the connection between lack of mass cultural awareness of Twig Harper’s work and his impact on collective consciousness shift. The story goes Twig spent some time growing up in Pennsylvania, moved to Jupiter (you can find it on an American map, HINT: it’s at the bottom), then moved to Michigan where he attended high school with the Wolf Eyes crew, got served up Caroliner records from one Jim Magas, met Partner In Everything and future Nautical Almanac Co-Captain Carly Ptak, and showed high school classmate Andrew W.K he could be come a pop star if he just tried. Things got really hot and ended poorly in Michigan once the cops caught wind of what was really going down, but before splitting to Chicago, Twig formed Nautical Almanac with purveyor and architect of the modern American Noise Underground, Nate Young, figured out how to make homemade circuit built instruments, helped in the cultivation of the limited release cassette label, the midwest house show circuit and generally got across that this whole culture could be fun, connective, ridiculous and a bit pushy (if you ask me), as much as it could be about anything. An escape to Chicago, a junk store, more music, more weird releases on more weird media (lathes, CD-Rs, weirdly sized records, cassettes of all sorts), and then eventually Twig ended up with massive warehouse, used as a performance space and artistic & spiritual cultivation center in West Baltimore called Tarantula Hill. During the 15 some odd years as an occupant of T-Hill, Twig, with Ptak, made records and toured with everyone from the Fort Thunder gang to the Wham City gang to Daniel Higgs, unearthed and moved the outsider street musician Little Howlin’ Wolf to Baltimore, and hosted every important underground band of the 21st century. Perhaps most centrally, the Tarantula Hill mission helped grow the artistic pursuits of countless artist’s and allowed Twig to generally put together work that mixes text and electronic unconstrained convulsions in the full on experimentation and creation of backlashing gems of confusion. A lot of people got touched, a lot of people made records, and some of the people who ran through Twig’s life got famous, some very much so, but also a crop of people across the country got warehouses, booked shows, released tapes, made music out of trash, got interested in psychedelia and consciousness expansion (oh, yeah, Twig gets into that too, he put a sensory deprivation tank and conducted salvia divinorium research after the performance space had run its’ course), most of all a lot of people made music in their own voice, their own bizarre floppy convulsing smashing silly voice, a voice built upon Twig’s shrill yelps.

[lovewithoutsound]

Twin peaks noise posting

[all-the-albums]

Wolf Eyes - “Dread” [Hanson Records, American Tapes 2001]

Listen here.

January

[hastioexquisito]

Jooklo Zappa, Blue Moon, Seattle

[resonant-skeleton]

Can't wait to see the response from the pedalbuilders community. Where's the Off The Wall Fuzz??

[carlosvivanco]

(carlosvivanco)