The Schizophonics - Black To Comm b/w remake model
Burgeoning sidewinder on a drive to quench a need of bluesy garage punk rock is how it starts. The unmistakable signature of volume, feedback, and the clankety clank premeditate the atmosphere. Back with kills too. It's like three beers and a teekillya plus a good hooter, ready to rock!
Satanic Togas - Strange Attraction b/w Unaware
Heard the riff a couple times, could not place it. I heard some of it before. That's not important. Because Strange Attraction blasts right into Unaware. A song for the time of day more relevant, there has not been.
Singles: The Schizophonics - Black To Comm b/w remake model + Satanic Togas - Strange Attraction b/w Unaware
TONIGHT ON LIVE AT THE UNDERGROUND (LAUGR - pronounced like the beer)
Honed in if a bit stoic in a few spaces. The thick swirls of guitars, bass and drums, whether by humans or machines transforms alright and there is plenty of feedback and reverb to go around. Song quality is above average, tight arrangements in a retro-goth vein. This release ended up on Wave Records out of Sao Paulo, Brazil, a fitting home for this band as their label mates run the range of dark matter. Clocking in at 8 songs, a full album in length, fans of darkwave and early age euro wave will delight.
Standouts include Upside Down In The Air, showing strong melody which pushes the psychedelic guitar and lead break somewhat after building from dry electronic drum beats. Both vocal and guitar follow the same line, making it sound tight in both verse and chorus. Plus when the guitar breaks off at the end again the vocal push fits right into the continued melody line. Follow Up Prisoners Of The Maze brings a more dramatic approach, with the progression in the verse chorus allow for somber expressions. Again the guitar work flirts with excellence, allowed to envelope a simple straight bottom end, therefore carrying the song overall.
Big Swoops come again via In The Hyacinth Garden. Again definitely psychedelic quarters, half and quarters meshing into a smooth transient sound. The effect is furthered by the steady droning hold of sparse vocals riding the waves of music. This is Mirror Of Haze.
Thinking how they'd sound is pretty much how you get there. No disappoints here for spastic controlled freak outs, slip leans and rumblin' means. Hinting often at a barely hanging on schizo mess, it all somehow seems to get pulled out and make it past the curves. On the straight away she'll kick in and run mean in the quarter half and full mile; just building up that head of steam for some twisting hair pin turns with the organ wound up blaring and the guitars biting. Not a song on here is even two minutes long. Adding to the apprehension, the suspense and relief as the powerchord punk anthems are rarely slowed by any side ditty. Longest tune of the bunch NPC has enough time at 1:46 to let loose and relax a bit, but not too much! Pumpin' cut time follows with E.T. Gnome with a very Jello style ending in No More Bands. Just enough here to make you want more!
7 Inch Vinyl
Have to give credit where it's due. It's a nice mix of punk and power pop, with just a slight dark edge to it. Basically a lead in doubling as a verse, then raving up a bit and doing a repeat. It has a slight waver on the chorus, but generally stomps the whole way through. Unlike some similar fair it doesn't just tease you but gives the feel enough time to develop and deliver. More great stuff coming down the Dirty Water Pipeline.
Slow starter with a minimal pack then builds with nice spin casting that rides in as the beat kicks up and the verse come quick & mean. Bass blast finishes with the voice sample from early on. Point to the spot.
A hint of psychedelia pervades the scene from opening number the self titled one. A laid back, rarely tensive, generally easy flows about mid tempo. This too is throughout the whole album. About as wound up as they get is on Train Of Thought, which is, if it had tons of distortion and drive, Chris Jack, famous from The Routes, going a bit heavy; as it it's kinda jangly with a bit of drive on a three chord ride. Not so sure how good it works, but the following The Way It Has To Be works pretty good as a showcase of his moderate tempo more trippy atmospheric stuff. Some cool shoe gaze on Thought and a nice final word with What's New. Overall, just a tad more balls would be nice. I'll give it five on a 10 score.
Some may remember the band L.A. Machina, they had a record out on Alternative Tentacles a while back. I remember seein' one sheets for it online but don't think I ever heard the band.
Suzi Moon was in that band and is now releasing her first solo EP via Pirate Press Records. It's tough, a bit dirty, and rocks! Suzi has been at this a while, developed something of a pedigree first forged along the lines of a Wendy O' Williams or an L7. The later though she's probably a bit more street punk, maybe more a Betty Blowtorch kinda thing.
I'd say she's all her own hell cat though. She pretty much lets you know that on opener "I'm Not A Man". The attitude only grows from there with "Nuthin' To Me" following. The devilish deal is sealed on the single "Special Place In Hell", where Suzi let's ya know you do her wrong she'll cut that ass!
Great stuff here!
Special Place In Hell - https://youtu.be/GmRV_w5JPMc
Quality smooth Afro flavored banger. Spindly tentacles reach from the dance floor and bring you in. You'll move, a groove simple enough to pulse and shifting enough to vibe. Hear it @ https://www.traxsource.com/track/8634057/rivers-edge-original-mix
Had a discussion on Reddit, as many are on social media these last few years, especially with the Corona, about the cruelty that seems invasive in our basic society here in the US.
Cruelty has always been large in my nation. It's based on individualism which has been in the fabric of the country since the first foreign settlers, to our nation as a whole going through phases of isolation to running the world.
Yet the cold hardheartedness of the individual has not ever been on display as it is today with things such as the pandemic and things such as arguments and acting out over wearing masks or opening schools, the the past almost four years of Donald Trump and the more than ever divisive political landscapes.
We are a nation of sociopaths, not as a majority, yet we have allowed mental illness, at least the cruel aspects of it as displayed in socio/psychopathy, to run amuck and over us, that non-hateful majority, for quite a while now, decades.
I have dealt with a small group of sociopaths over a long period of time. It is famously gone through, the decades of abuse, in Issue 70 of the Underground Sound.
Salt water taffy progressed southside via Latin American ingredients. Sweet hoxboxing hoverings (In Danger) place alterna vibage rolling over a start strike reggae lick plus drone. That scattering exists throughout, giving a unique groove to the home crew (Black Cat). Frantic smatterings ensue via flashback (Rubilitte) which only relays into another blackout session (Intoxicac╠ºa╠âo). Ending not much like the poppy new wavish beginning (title cut), and that's good, shows depth of character.
Much and many times here I am taken into the place that would be vaguely familiar as college radio circa '81 (Road Of Joys, among others), which is cool, sometimes retro hits the spot. Even hear a bit of Jello in there (Fleeting Celebration). Makes me wanna pogo just a bit, before I settle down for my coffee.
Contact: Via Dirty Water - https://www.mynewsdesk.com/uk/dirty-water-records/pressreleases/brazilian-post-wave-trio-herzegovina-sound-2021-distress-signals-with-debut-lp-emergency-mandinga-records-3062419.pdf
Pack it in anticipation. No disappointments here. Smooth glider stutter stepping through the streets hittin' on that wedding cake kicking ass and taking names!
LONG LIVE CYPRESS HILL!
A few times you may hear things that feel really pro tools, but no idea if that software was deployed in making these recordings. Overall this is a pretty strong album, if you like melodic metal that much stronger. La Torre has always been a power singer in Queensrÿche and all his bands prior, and there are no disappointments here. If you're into riff-age from start to finish this album has a ton of it. The double white vinyl is a definite collector's item (just a heads up).
Much is said about this being his first "solo record" but like I said he's been a presence and key member of a few bands before Queensrÿche. In fact as I listen to this album some of it reminds me of those earlier bands, which is where I know of Todd La Torre from, he was in Queensrÿche A LONG TIME before I even realized it, probably not until The Verdict, and really not until I saw that tour and said that singer sounds and looks familiar....so it's strange to hear people refer to this as a "first solo record".
But there's definitely later day Queensrÿche all over this. Like said though, this metal is a bit more riff orientated though certainly with a similar yet varied sonic quality as to his day job stuff. Here too, I've read a few reviews which say this sounds nothing like Crimson Glory or the former mentioned band, or just in a spot or two. Nah to me sounds just like 'em, but it is what it is another band, with the singer from those bands. Whether that is a curse or plus to you depends solely on if you hear things in perspective.
For me the album seems to have some central themes, it calls upon the deep, dark overtures in spots a bit, and touches on both the garage looseness and technical tightness giving it a unique flow from start to finish imbued with interesting textures of heavy, showcasing La Torre's vocals as well as his excellent playing skills. He does a lot of everything on this record. Most of it is his, and Craig Blackwell's playing.
This album to me DOES sound like something which has been worked on for a long time. Rare are any songs on here which feel unfinished arrangement and playing wise. When I found out indeed it has been in the works for a number of years, that did not surprise me because it has a simple solid quality that presents itself the length of the disc. It took a bit of time.
It's probably good enough too, to stand the test of these times. Coming at a time when there is fertile ground and tons of new stuff arriving from people holed up finishing stuff in the studio over this past year, and running, as covid has shook the world.
Lots of good stuff too, has come out and is coming out. You can put this in that bin. Pretty good stuff. Score one for La Torre.
Scheduling live chat interviews (or I can do pre-records) for the Live At Underground Records Telegram group. These are live talk-show pod cast type interviews (no streaming video). Join the group and get in touch to schedule your live interview. The Interviews will also be re-broadcast on the weekly Friday Night shows. Telegram LAUGR -
Every so often you get a release that transcends any genre specific keywords, removes any clarity as to specific values or trends, and just delivers a strong set of performances typical of a higher set of vibes, a noted well-strum of achievement. The killer. Like that first wiff of the sativa, the damp intriguing scent of the earth paired with some cosmic virtue that emerges as the squash blooms then matures in the springtime, calling the mists of ghostly apparitions, the songs of your ancestors, visiting for another storied hoedown. You open the doors to your mind to the engulfment of the specter. You greet the Shapeshifter, with a smile. 'Cause you know it's gonna be good.
So by the time you get to the tattlin' Preacher Man, you have already traveled those gravel back roads, stopping at the roadhouse on edge of the boondocks, title cutter blaring wide open. Building on that which follows the kick off barn burner Bring Down The Rain. At this point you just feel it in your bones, you got sumptin' special. The tickling spells of Appalachia have entwined with garage grit over layered on some semblance of the proverbial acid trip. This much is proven on Long Time Ago, as the title fits above symbolically. You'll remember the troubles, but you can't, never, forget the pleasures. It was and is a special time. Always right to blow yer mind, to crank up the jams.
That's the special magic of Chicken Snake, that clever fogginess of voodoo defined as rock n roll, with a snake eye beat that puts feet on the floor; an entranced whirlwind of wicked commencement, as the festivities begin. It may be the hometown festival, a theater of the enthralled, or the wide open fields of the festival. Wherever, still, Shapeshifter is there, lurking, at times you can glimpse it, that pure greatness that comes with a knowing smile, of those who have tasted Chicken Snake when the moon is right. Cold Night For Alligators is all this, and more.
Brake bucking on Don't Look At Me, or playful spirituals on Devil Moon, what counts is the rhythm of the roundabout, the bleeding heart of the skally wag. Draggin' a leg or pitchin forward like a pressure pill overdose, or you can if you want, just sit back and observe. However it is much more fun if you get up and participate. Folks won't mind, you're just another who have experienced it, that, thing, that mystery, that incredible folk music of the soul that takes you, compels you, commands you....
That is the essence of Shapeshifter. And in the end, that's all that counts. That you have finally found it, heard it, seen it, embraced that ride. #1 With A Bullet, for a lifetime baby.
All the hail the mighty Chicken Snake!
TONIGHT ON LAUGR:
Tonight! Live on the Underground, new stuff from:
Very solid rock album. The riffs sing loud and clear, singing in the vocals and pretty good ones at that. Nothing overblown anyway around. You can hear the San Diego in the cuts with their laid back yet simmering tensions; that's Southern Cal for ya. Quite a times the leads rise above, and generally space is given a bargain, which does well in big beat type riff setups, stuff doesn't get too messy. The songs are strong as well on melody, which really is the added ingredient that makes the album overall. It does get sparse in a place or two, though I'd say a full band set live would fix that up. Standouts are title cut Flying Into Void as well as the following Buzzface. A good example of the mastery of space exists on Hidden Hills, power rock on Cut Teeth and the dangerous of complacency on Poison Eagle. Not a bad song on the record.
Roosevelt Row Records @ https://wearechiefs.bandcamp.com/
On tonight's show: The rise of the three legged dog.
RIP IN PEACE TERRY LA'RUE, MY BROTHER IN THE BOOZEHOUNDS 2007 - 2010!
After our ground-breaking mid-week show about how The Lords criminal Organization runs your world, they strike back at The Underground!!!
TONIGHT A SPECIAL LAUGR!!!
Issue 71 - The Underground Sound
Lil Freaky f. Future & Herion Young - 27 Birdz (Dirty)
Smooth underflow on a hard scene. Tellin & sayin', showing good timing, times and end of the lines. Tight clips & spits, good N ease. Always on the street, like an autobio of the scene. That symphony there in the background....
AYO 215 - BOTHER U
Wantin' to say sumptin bout how he was done. How all that was got over, and a bit of playback. Like what the real is, not some fantasy.
Venus - Swipe, Delete
Storytellin' bout the bad bitch, and everything from footballers to big ballers. What you come across lookin' online. Some folks just better throwin' than others. You gotta weed through the BS.
WIN (PROD BY KENNY BEATS)
Callin' times be done, and ones yet to come. Corkscrew filet with a piece meal bass injection. Then the bullets come via the wind, and shit gets started all over again. Another day in a gangsta paradise.....
VIA: Chuck West, [04.01.21 06:37] @ https://t.me/joinchat/Cei-TFPGrqkIjndrBwNqsA
As I listened to these two songs that sit smack dab in the middle of their latest album "Emergency" and the divergent mix of tracks prior and after like the jagged surreal "Black Cat" or the bottom-fed bass/guitar assault of the title track or the dark horror pop affection of "Intoxicação" (which is deliciously mind-blowing), I thought of an amalgam of so many artists I love like Television, Devo, Richard Hell and the Voidoids and even early Talking Heads.
Herzegovina will take you on a surreal journey full of dark turns and sharp edges. I am digging the ride.
Taken from conversation at:
Link to article - https://www.frontiersin.org/articles/10.3389/fpsyt.2020.568942/full
Sure many do. My father knew someone who lost their career back in the
early (or was it the mid) 60’s because dude said the CIA was experimenting with narcotics on
citizens on US soil. Back then that was pure nonsensical conspiracy
theory . We know better now. Same will come from the use of
electromagnetic weaponry by the government on its own people happening
now. PhD’s in your fields are as well too often eager to believe their
own bias jumping to’s....it can be tough, I know to deal with a strange
reality one says no way in hell science says nada cum yada....can not
only be hard, not popular and make you look crazy, but jeopardize your
life and career. In the rare instance though, are those with theories
about conspiracy who don’t know honestly WTF they are talking about.
They can if they’re enough of them with varying degrees of bias and
ignorance, help continue or increase the harm the loonie tooners who
they call conspiracy theorists cause.
(entered into evidence file #94927293, forwarded to legal counsel)
Report Points to Microwave ‘Attack’ as Likely Source of Mystery Illnesses That Hit Diplomats and Spies
A government-commissioned report provides the most definitive explanation yet for “Havana syndrome,” which struck scores of American employees, first in Cuba and then in China, Russia and other countries.