i hate the sound of guitars » s

Song of the Week: S-S-S-Spectres, “Witches vs. Wolves”

guitarlover — Wed, 25 Mar 2009 11:26:46 +0000

I show no signs of getting tired of bands that worship at the temple of The Fall’s early days: ungainly lurch, quirky lyrics, atonal-but-strangely-catchy — I can’t get enough. S-S-S-Spectres’ “Witches vs. Wolves” might sound like a runner-up in a fake Fall album/song-title contest, but it made me say “what the heck?” in the its first few seconds, a lugubrious chant of “None will survive” punctuated by a solitary snare. From there it’s on to an unruly bassline and scritchy-scratchy guitar that eventually settles into a propulsive buzzsaw riff. The overlapping male/female vocals describe a witch/wolf conflict that’s perhaps both memetic (”engaged in a secret war/to become to the dominant metaphor,” which manages to sound kinda sexy) and literal (”we will win the day/we’re claiming victory/none will survive”). With its intro, a noisy bridge, and a coda section in addition to verses and choruses, it’s got almost enough textural shifts to fuel a prog epic, but it does all its damage in just a shade over 2 minutes. I can play it 3 or 4 times in a row before I want to move on.

You can check out “Witches vs. Wolves” at New York Night Train Recordings, and there are more links from there. S-S-S-Spectres EP Sea Potentia Divina is also available from eMusic and iTunes.

I’m way late to the party with this one. All the hip Brooklyn music blogs cooed over this back in 2007, and the band has already broken up. Sigh.

I have gone all completist about S-S-S-Spectres, and there’s evidence on the Internets that people have listened to tracks — notably “Magic Mountain Reference” and “Your Hands Are Missing Mine” — that I haven’t yet been able to track down. If you can help me listen to those, please get in touch.

Simulacra – Simulacra

guitarlover — Fri, 18 Jul 2008 12:27:17 +0000

I got Simulacra via eMusic, which meant I first heard this as a weird record, not as a novelty record. It was an arresting mixture for sure, blending the everything-distorted-all-the-time aesthetic of Parts & Labor/Times New Viking et al; a slow-tempoed, heavy, King Crimsonish vibe; and deep-buried, high-pitched female vocals a bit like Melt Banana, or possibly a porn tape being played over a metropolitan subway announcement system. Oh, and great drumming. I assumed that the oozing bass lines were played on keyboards, but I wasn’t sure about the treble instrument — guitar processed to sound like keyboard? or keyboard treated to sound like guitar?

So I went looking for info, and found plenty at the Simulacra CD Baby page. Turns out there are neither keyboards nor guitars on this recording — it’s all clarinet. No joke — the distorted B-flat clarinet is provided by project mastermind Aaron Novik, and the distorted bass clarinet is courtesy Cornelius Boots of “Edmund Welles, the world’s only composing ensemble for bass clarinet quartet,” which I will probably have to check out. The great drumming is from Matthias Bossi (Sleepytime Gorilla Museum/Book of Knots) and the vocals are by Jesse Quattro (of heavy metal band Hammers of Misfortune and Mr. Bungle/Faith No More guitarist Trey Spruance’s Secret Chiefs 3 project).

Smokers Die Younger – X Wants the Meat

guitarlover — Thu, 14 Feb 2008 12:36:58 +0000

There’s basically nothing I don’t love about Smokers Die Younger’s X Wants the Meat.

I love the cheap-sounding keyboards (Casio? I can live in hope). I love the also cheap-sounding and frequently fuzzed-out guitar and bass (Slates amps and Skinny Rat guitars? Sounds like they could be), the determinedly plonky single-note guitar lines they play, and the sudden sheets of blissful noise they make. I love Golf’s “what is pitch and why should I be bothered with it?” and “Do I think I’m Stephen Malkmus, or do I think I’m Andy Falkous?” vocals. I love that the song title “FKUSA” stands for “French-Kissing in the USA” and not the ruder thing it also might stand for. I love how that song devolves into its own remix, and then further devolves into what Jason Korzen* might call an “ambient industrial dronescape.” I love “Mlle Amy Dutronc”’s occasional backing vocals and her lead turn on “Three Cigarettes in an Ashtray”. I love the “we can’t afford all those fancy microphones” drum tone. I love the unexpected, gloriously ragged horns that rip open “It’s Coming Straight for Us” just when you think you’ve pegged it as a foul-mouthed and perhaps uninspired rip-off of Aiden Moffat’s songwriting style.

I love how, while some of Smokers Die Younger’s influences are obvious enough, this band doesn’t sound especially beholden to any one of them in particular.

I love the sheer stones this band consistently displays: the potentially-offputting name, starting their album with the harshest, least-welcoming track (”Bad Driving School”), tackling a Patsy Cline showpiece song with nothing like the requisite equipment, avowing that their eclecticism warrants coining their own genre (”hard trasp”).

I love that I can listen to X Wants the Meat straight through and want to hear the whole thing again immediately.

Perhaps most of all, I love how Smokers Die Younger takes attributes that would usually be weaknesses and mutates them into strengths.

If you would like to see if you love them too, you can listen free to maybe my favorite song, “I Spy Dry Fear” at last.fm. Thee Sheffield Phonographic Corporation can hook you up with a physical copy if you’re in the UK or don’t mind international postage&packing; I got my 320K MP3 hookup from Pure Groove Digital, which I endorse despite a clunky download user interface; and iTunes Music store is another digital option.

* SDY sound nothing like the sprites, truly, but Korzen’s coinage is too apt to not swipe, and too good to not attribute.