The White Stripes - Elephant

V2: 2003

The White Stripes are the greatest rock band of the last twenty years, if you were to ask any long-time follower of that scene. Like, I’m talking long-time, since at least the late ‘60s. In one fell swoop, Jack and Meg obliterated any and all developments, nuances, dalliances, diversion, explorations, and permutations of rock music, bringing the scene back to its simple, garage roots. More punk than punk, more blues than grunge; punting the pretentions of prog, nuking the new wave for some old wave. Um, making metal mobsolete? Help me out here, guys and gals.

Mr. & Ms. White weren’t the only musicians making garage rock, but they were the first to connect with that all-important “yoof” demographic, breaking out of obscurity with a flurry of memorable videos on MTV (and almost single-handily making Lego cool again). Soon after, all manner of garage rock bands entered the airwaves. With a quickly crowding scene, however, come increased demands and expectations on the perceived leaders, to prove they deserve their perch upon the podium of classic rock’s saviors. Whether by circumstance or design, Elephant was destined to be The White Stripes’ Statement Album. They were no longer the plucky upstarts out of Detroit, but a force the world of old rock was hanging their hopes on. Plus, y’know, no pressure from signing on a major label, one offering a vinyl roll-out when the format was practically toast. Nope, no pressure at all. Good thing Jack White’s obsessive enough of an artist to get the job done, then.

Yeah, they smashed it out of the park, Elephant earning all the plaudits, praise, and rock awards. And though it couldn’t sustain the garage rock mini-revolution for much longer (folks getting all up in that Coldplay shi’…), the album’s held up greatly, thanks in huge part to the raw, unvarnished quality the Stripes deliberately utilized. The liner notes proudly proclaims no computers were used in the production, with only vintage analogue gear for the recording process and self-imposed time-frame for studio sessions (ten days!). They wanted this sounding as authentic to the garage bands of the mid-‘60s as possible post-millennium, and damn if they didn’t succeed. Fortunately, they also gave the tracks plenty of heft, such that the raw, grainy distortion and thumping drum kits are rich and full, nothing over-compressed and flat; timeless, and all that. Take that, Red Hot Chili Peppers!

Seven Nation Army was the big hit off here, but I’ve been rather blasé about it all these years. Too monotonous throughout, y’see, though definitely kick-ass lyrics. Nah, I prefer these Stripes when they just rock the f’ out (Black Math; Girl, You Have No Faith In Medicine; Hypnotize), or get right-proper blues heavy and sludgy (There’s No Home For You Here; Ball And Biscuit; I Just Don’t Know What To Do With Myself). And dammit, the acoustic jam with Holly Golightly at the end is just too adorable, in spite of the depressing topic. Country in a nutshell, eh?

Lorenzo Montanà - Eilatix

Psychonavigation Records: 2013/2015

Mr. Montanà was pretty set with Fax +49-69/450464: a couple of albums, nearly a half-dozen collaborations with label head Pete Namlook. Guy could probably have rode his entire career with the seminal print had it not been for Mr. Kuhlmann’s unfortunate untimely death. With no other choice but to shutter their doors, Fax+’s closing left ol’ Lorenzo temporarily homeless. There were undoubtedly several options and opportunities for the Italian producer to find another label, but perhaps he sensed proper kinship with this plucky, off-the-radar print out of Dublin, Ireland. One that took direct inspiration from Namlook’s work in their chosen name, and even had a fondness for the Fax+ sounds of old, often leaning retro with their ambient techno. Besides, it’d be another year before the true Fax +49-69/450464 successors launched (Carpe Sonum Records). May as well make a bed with these Psychonavigation guys, see how things turn out.

None too shabby, now three albums deep for Keith Downey’s print. They must have been more popular than anticipated too, what with only being released as limited CDr and all. Like, I know Mr. Montanà came from Fax+, but that doesn’t mean you must honor Namlook’s strict limitation runs as well. Right, small label, CDs aren’t as popular, etc. Fortunately there was enough interest in Lorenzo’s earlier contributions to Psychonavigation that a reissue was inevitable. And wouldn’t you know it, Mr. Montanà had just released his third LP for the label, so why not bundle them all together for a spiffy 3CD pack titled Trilogy? Making things simple for all the new comers and late adopters, now don’t it? (*cough*)

Eilatix was the first of these albums, and just so happens to be first alphabetically too. Don’t you just love it when things coincidentally align as the planets and stars do on a cool summer eve? No, this simile is applicable, because the music within is very brisk and chill, minimal ambient acid and dub techno for nights out under a full moon, lounging in a lawn chair huddled within a dew-speckled blanket, the sparkle of distant suns glimmering in your eyes. Wow, did I get carried away with this descriptor. Eilatix isn’t that evocative.

The album was billed as a follow-up to Lorenzo’s work with Namlook, so I’m assuming its referencing the Labyrinth series, which I’ve never heard. However, without that frame of reference, I actually came into Eilatix figuring this a follow-up to Mr. Montanà’s solo work on Fax+, Serpe, and I cannot deny some feelings of disappointment. There was a significant leap in crafstmanship between his first two albums, while this feels like a regression of sorts, less about pushing his boundaries in favor of a simple, modest album, ears fixated on the era of early Apollo and HIA. It works in that regard, but man, just when things are warming up and getting good, Eilatix ends, Temporary Light a big tease to what could have been. Still, quite pleasant as background music. Play it during your stargazing ventures.

Dronny Darko & protoU - Earth Songs

Cryo Chamber: 2015

I find dark ambient’s at its best when it provides a narrative, a musical sequence of mood, atmosphere and tone akin to an audio novel or documentary. Okay, so I think all music is best served as such, but this genre seems tailor-made for it. Catchy earworms? Shuffle-tastic beats? Sing-along lyrics? Get out of here with such foolish diversions, we’ve a tale to tell, and have no need of dance numbers and staged musical distractions. Not when there’s outworld realms to explore, frigid tundra to trek, sojourns of the psyche to survey, occult rituals to observe, and ruined societies to unearth. Or, in the case of this collaboration between Dronny Darko and protoU, telling nothing less than the entire history of the universe! Talk of ambition.

I’m not even kidding. Earth Songs contains seven tracks, each demarcated by an approximate date of setting within this narrative. The opener is Explosion (13.8 billion years ago), because if your scope is all of Earth’s existence, you may as well start at the beginning of everything. No planet, no congealed mass of space rocks and dust orbiting a hot, young star, not even a molecular cloud or stellar nursery drifting in a galaxy. We’re at a time when the very elements of the cosmos were still being crafted, the building blocks of all that we see and interact with finding its form. The music, such as it is, sounds rather like the droning ambience of a science show describing such a scene, or the weird landforms that Dave Bowman flew over after the trippy light show was done.

Since nothing much else happens in the development of Earth for a very, very long time, track two time-jumps some ten-billion years to Life Beneath The Surface (3.8 billion years ago). Not only do we now have a planet, but stirrings of cognizant chemical reactions too! In something of a departure from Cryo Chamber’s typical bleak drone, this track is rather calm and soothing, ambient in its more traditional sense. It paints a promising, humble beginning for these songs of Earth, of unlimited potential. What’s with those sounds of footsteps though? Is some future explorer actually present? Aliens? Also, I’m not sure how scientifically accurate Darko and ‘U are being, considering next track, Riparian Forest (300 million years ago), has samples of song birds. I’m almost certain such animals didn’t exist that far back.

Desolate, ash-strewn Extinction (66 million years ago) is self-explanatory, almost a requisite track in this sort of album. Shortly after (astronomically speaking), we have Primate (50 million years ago), a bit more melodic and hopeful in tone, though definitely with an ominous edge to it. Something must have happened along the way, for we have Singularity (2045 AD) next, followed upon by Leaving Earth (2135 AD), as bleak of sci-fi drone as you’ll likely hear that’s not on a Sabled Sun album. Wait…, 2135… 2145… Oh my God, Earth Songs just might be a Sabled Sun prequel! (probably not)

Bone Thugs-N-Harmony - E. 1999 Eternal

Ruthless Records: 1995/1998

The only Bone Thugs-N-Harmony album you’re supposed to have, even if you’re not a Bone Thugs-N-Harmony fan. Took me damn long enough to get it too! You’d think, after relaunching this blog with all that Bone Thugs love that E. 1999 Eternal was already been in my collection. Nope, though I did intend to pick it up shortly after getting that Creepin On A Come Up EP. Made sense considering how much I talked up the Cleveland crew’s debut LP and all. Not sure what happened though. I do recall getting side-tracked by hip-hop from Ice Cube and Public Enemy in the ensuing year, not to mention music funds being put towards a few “DJ Mix Series On A Budget” projects. Then there was another Waveform Records splurge, a Juno Reactor splurge, filling a few blanks from Wu-Tang Clan, an indulgence in Nine Inch Nails… wow, Lord Discogs sure is great at chronologically chronicling one’s buying habits!

Whatever the case, I finally done did get me some E. 1999 Eternal (because going back to playlist those early Ace Tracks reminded me as such), and I feel like such a tool for holding out this long for it. Right, I already know the hits off here practically beat for rap, so ingrained in mid-‘90s airplay they are. Tha Crossroads was the big one of course, and undoubtedly the sole reason many grabbed this album. Interestingly, the original version was quickly replaced by the more popular Dj U-Neek’s Mo Thug Remix that was featured on the classic Grammy nominated video. Their reflective, harmonious vibe is what many came to associate with the group, including yours truly when hearing tracks like 1st Of Tha Month and weed odes like Budsmokers Only and Buddah Lovaz. It’s not that I wasn’t aware of their heavier, thuggish ruggish mould, but it wasn’t the sound getting the radio (re: school dance) play or video rotation on MuchMusic. This album though, damn is it ever a heavy one.

The success of Tha Crossroads belies the fact Bone Thugs-N-Harmony cultivated an underground image of gritty, ultraviolent gangsta menace with a taste of the occult. Their world wasn’t just harrowing tales of the ghetto, but one also tempted further within the darkside of life, relying on spirits and demons for guidance in their lives. The contrast of rapid-fire double-time raps with harmonic soul is like hearing the angel and demon on your shoulders, though in the case of E. 1999 Eternal, the sinister tone of the music suggests all their sins are winning out. Down ’71 (The Getaway), Land Of The Heartless, Die Die Die, Eternal, and Mo’ Murda.. . all gripping street narratives with solid beats, chorus-chants, and ominous sounds, never sacrificing intensity for the chance at a little chart action. It was probably all a bit much for those expecting more Crossroads within, but that didn’t stop Bone Thugs from aspirations of rap dominance from here on out. For more ill than good, unfortunately.

Council Of Nine - Diagnosis

Cryo Chamber: 2015

So this Council Of Nine fellah, Mr. Maximillian Olivier, what’s his story? I spent a good chunk of the last review of his material going on about Greek stuff, and almost none detailing his backstory. While I couldn’t pass on the opportunity to get my mythology wank on, there’s a practical reason too: Council Of Nine is about as much a mystery as the governing body behind the contemporary Council Of Nine.

Unlike others of Cryo Chamber’s roster, Max’ got his start in-house, first contributing to the 2014 artist showcase Tomb Of Empires. Shortly after in 2015, he released Dakhma, and later the same year, provides us with Diagnosis. Lord Discogs lists no further entries, not even self-released material in the elsewheres of the Internet. Even his Facebook page seems more intent on reposting Cryo Chamber promotions than anything favoring himself. Makes sense if he’s got close ties with Simon Heath’s print, which I suspect he does given Mr. Olivier comes from the valley of the Redwoods near Cryo headquarters. Cannot deny though, because of this sparse info, I briefly thought this was Simon Heath under another pseudonym. But no, that wouldn’t make sense - I’m sure followers of Atrium Carceri are highly attuned to any and all developments with their dark ambient lord and savior, and would have made the connection swift-like. Council Of Nine is his own dark beast, doing his own dark things within the dark drone folds.

And making quite a departure with Diagnosis from Dakhma. Whereas the latter focused on a setting and the surrounding atmosphere, this album is all on that introspective gaze, insular and reflective as one is wont to be when alone with their thoughts. Track titles like Memories Are Fading, Sedation, Void Of Regret, and Riddled With Guilt certainly paint a bleak journey within the psyche, but then what would you expect from a dark ambient release? And honestly, Diagnosis is one of the more melodic albums I’ve heard from the Cryo Chamber camps, melancholic as needed without succumbing to pure depression and despair. There are even brief moments of uplifting tone in opener Rite Of Passage, maybe hinting at some hope in the journey of judging thyself we’re about to embark upon. Hah, not bloody likely.

I wouldn’t go so far as to say Diagnosis offers no reprieve or remorse for the listener, but Council Of Nine lays the drone almost as thick as the crushing tones of Dakhma. Instead of feeling claustrophobic within a macabre ritual though, you’re surrounded by all the doubts and misgivings of your past, unable to escape the crippling regrets that have led you to that not-so comfy couch in the shrink’s office. At least, I figure that’s the intent of Diagnosis. After a promising start, the album kinda’ mushes into an unending bleak drone in the back half. Cool if that’s Council Of Nine’s intent, but I was hoping for a little more journey in this one. Mind Over MIDI spoiled me, is what.

Mind Over MIDI - Deep Map

diametric.: 2015

I didn’t think much of it while browsing the Ultimae Store, simply another intriguing CD that gave me the Silent Season feels with that packaging. I’d never heard of Mind Over MIDI, and quite probably would have continued my sifting had the album’s title not tickled the fancy of that would-be cartographer residing somewhere near my heart and soul (a quarter-inch to the upper right of the spleen). So take the splurge-plunge I did, and boy, was I not expecting this. Okay, I had some inclination – Ultimae doesn’t rep just anyone, and the grayscale mass of water and land hinted at something ambient, dub, with a dash of static and drone. That the mind behind this MIDI has such a storied career though, I hadn’t a clue, not a single bloody one.

Helge Tømmervåg is how he typically deals with airport staff, and has been making music from his native Norway for two decades now. Starting out mostly on that post-Aphex acid techno tip, he soon took on dub techno with all the sonic space it provides, and might have found a comfy home in a chill, year 2000 dub-n-glitch set had such DJs ventured beyond mainland Europe for their records. As it was though, he carved out a respectable niche on Norwegian print Beatservice Records, home to such acts like Biosphere, Circular, and, um… Slowpho? Flunk? I don’t know much about this label, so far off in lands that may never see a winter sun as they are.

Mind Over MIDI eventually moved on from Beatservice though, finding a semi-home with Silent Season; of course he would! He’s also released material on diametric., a recent, fiercely independent print that adores things like ‘soulful techno’ and ‘experimental electronix’. Their roster includes names like Valanx, Sons of Melancholia, Submersion, and Be My Friend In Exile. Oh man, we sure these guys aren’t from Norway too?

As one can glean from these label wanderings of Mr. Tømmervåg, he gradually left the techno throb of his dub explorations behind, focusing more on the ambient sonics and space beatless music affords. Some of his records turn very abstract and minimalist, so it was with some glee his longtime followers heard he was returning to something with real melody in Deep Map. Maybe, I don’t know, there’s scant info on how many fans Mind Over MIDI has. The few stray comments I’ve crossed seem positive though.

And this album, oh yeah, this is definitely some introspective stuff. The first couple tracks mostly drone about with static, fuzzy dub, and distant pads; very melancholic mood music for our times. Then the middle portion of Deep Map erupts with bright synths, as though we’re in Hearts Of Space’s domain of New Age ambient (the non cheesy sort). The back half is something of a conflict between suffocating static dub and meditative melody, with ample field recordings littered throughout, and no clear resolution by CD’s end. Dare I give this the ‘journey album’ prestige? I does dare indeed!

Various - Dazed And Confused

Universal Music Group: 1993

Wayne’s World probably got it started, that whole “‘70s music is now cool in the ‘90s” thing, but this soundtrack solidified it. Punk? Grunge? Metal? Rap? Pft, who cares about that when you got all the hits you might have recalled in your infancy, your parents playing it at some point in your youth, but never gave much thought while growing up. Of course, anyone tuning into a classic rock station would have heard all these songs in a given evening, but the kids ain’t doin’ that, nosiree. They’ll only listen and appreciate the rock hits of the ‘70s if bundled in a package that appeals to them and their sensibilities. One that relates to the difficulties of high school, being young and directionless, believing these times as they are will last forever. Where getting drunk, stoned and laid on the weekend is the goal of any fun, memorable night out. So sayeth the Dazed And Confused crew.

Contrary to belief, I don’t want to be contrarian. I enjoy following the herd if it’s a herd worth following. This movie though, I just don’t get the big appeal. I understand Richard Linklater’s message just fine, such as it is, and latter-aged Boomers undoubtedly get a rush of nostalgia endorphins when watching this. Plus movie geeks adore the movie’s cast for the plethora of “before they were famous stars” littered throughout. At the same time though, I watch Dazed And Confused, and I feel like I’m watching a typical Friday night back in my high-school days. Granted, my hinterland residence didn’t afford much activity for youth beyond attempts at getting stoned, drunk, and laid. Drinking down by the oceanfront before the cops scattered you to the woods was fun for a time, but not after discovering these truly wild and bizarre parties called ‘raves’ happening in Europe. If movies are about escapism, why should I be invested in one that cuts too close to my reality? What do I know though, I think Groove is kinda’ cute.

So the music. Dazed And Confused features a bunch of big hits of the mid-‘70s, a fun but totally unadventurous collection of rock tunes. That’s not really a dig though, as this is almost certainly what the characters of the movie would play on their vinyl spinners and 8-track rewinders. Heh, makes me wonder what I might have been listening to if I lived as a teenager back then. Would I have discovered Tangerine Dream or Kraftwerk? Might prog rock been my one true calling? Would my Neil Young fondness have gotten a quicker start?

Linklater says he chose 1976 as his movie’s setting specifically for the last days of when rock music truly rocked. Before the disco behemoth took over the airwaves. Before everything got bad. Yeah, whatever, that’s what people always say about the music they first got laid to. Given how popular this soundtrack was for my generation though, the legacy of Kiss, Rick Derringer and Nazareth carries on.

Council Of Nine - Dakhma

Cryo Chamber: 2015

Council Of Nine has existed since the days of Greek Mythology, Olympian Gods who sought to punish Mankind after Prometheus had the audacity to give us Fire. These deities – Zeus, Poseidon, Hera, Hephaestus, Aphrodite (the cute one!), Apollo, Athena, Hermes, and Demeter (the serious one) – created the first woman, Pandora, and sent her as a gift to Prometheus’s dopey brother, Epimetheus. The Council Of Nine also sent with her a Box, with instruction it was never to be opened. They figured dumb ol’ Epi’ would accidentally knock it off a table or something, thus the Council Of Nine could unleash all the ills of Mankind upon the world, and blame it on the Titans! Little did they know their own creation would open the Box instead, Pandora’s curiosity getting the better of her, throwing a wrench into their blame game. Women, am I right, Zeus?

'kay, I’ve no citation that this is the ‘Council Of Nine’ Maximillion Olivier chose as an alias. Heck, it could be based off the South Park parody of the Council Of Nine, which included such luminaries as Aslan The Lion, Luke Skywalker, Gandalf, Jesus (the cute one!), Wonder Woman, Glinda The Good Witch, Popeye, Zeus, and Morpheus (the serious one). Seeing as how this is a dark ambient release though, I’m leaning more towards the governing body of the Church Of Satan as a source of inspiration than a relatively obscure part of Greek lore. I had to share some of these Wiki discoveries.

Mr. Olivier makes the sort of dark ambient most associate with the genre: creepy, foreboding, bleak stuff drawing upon images of black rituals and the occult. Can’t say it’s a sound I particularly gravitate towards – when I indulge in dark ambient, it’s mostly of the cosmic, isolated sort that leaves one alone with their thoughts. Mind bending abstract stuff’s kinda’ cool too. If I’m gonna’ splurge on Cryo Chambers’ catalog though, I may as well take in all the genre’s forms. Who knows, maybe I’ll stumble upon something just as dope as Sabled Sun!

Can’t say Dakhma is that release, though it certainly executes the ‘dark ambient by way of eerie ritual’ mold in fine fashion. The title is reference to an open structure where Zoroastrianists bring dead bodies for the purpose of excarnation, essentially letting carrion birds pick away at corpses before being taken away for burial. Though macabre, this does have practical value to it. Look it up, it’s fascinating.

Dakhma holds six tracks giving us a portrait of the ritual. Some, like Tower Of Silence and The Ossuary, have distant melancholic tones setting the mood of the passing of the dead. Others like The Magi and Nasu, focus more of the sounds and activities that may occur during such an event. The two longest though, Sacrifice and Circle Of The Sun, are some of the deepest, crushing drone I’ve ever heard. It’s like my soul’s being suffocated and squeezed out of my body. Well done.

ACE TRACKS: April 2016

How we handlin’ all these diversions, then? Not too painful I hope, getting some fresh perspectives and insights into artists and genres so seldom touched upon here. And hey, it helps with diversification, broadening the blog’s appeal beyond the familiar, perhaps even luring in a few new, unexpected eyes in the process. That’s a good thing, right? Judging by the numbers, reviewing other people’s former collections has paid off. Who knew folks would be more interested in Bob Dylan records than Yet Another Psy Dub CD? Still, this backtrack’s got some distance to go, only just wrapping up the ‘C’s. Those ‘Tr’s are far away yet, friends, so very very far away. Patience, my lovelies. Here, have some ACE TRACKS from this past month of April!



Full track list here.


MISSING ALBUMS:
Claude Young - Celestial Bodies
Various - Time Warp Compilation 07: Loco Dice
B.G. The Prince Of Rap - The Time Is Now

Percentage Of Hip-Hop: 11%
Percentage of Rock: 32%
Most “WTF?” Track: Probably something from Alphaxone. Take your pick of mind-peeling creepiness digging its tendrils through your ear membranes.

This has to be the most diverse playlist I’ve put together yet. Well, not including The Ultimate Master List. Even doing a lazy alphabetical arrangement generated quite a few interesting contrasts throughout. Possibly the smallest percentage of electronic music too, in lieu of all that rock and folk material. And when I do get to the digital realms, it’s almost always ambient music. Even the techno guys (Claude Young) or ‘future garage’ guys (Synkro) go ambient here. Can’t say things are gonna’ be much different in the coming month either.

Pantera - Cowboys From Hell

ATCO Records: 1990

Many musicians reinvent themselves to keep pace with changing trends. Some even succeed in doing so, avoiding the ‘bandwagon jumper’ label while contributing something worthwhile to the new sound in the process. Incredibly rare, however, is the act that not only adapts, but forages a new path unheard of before, and thrives as a result, spurring their own legion of bandwagon jumpers. How many are there even? Radiohead’s Kid A was a fascinating exploration outside the band’s comfort zone, but it wasn’t a reinvention of the group. The Beatles were constantly evolving in their songwriting, but one can still trace it as a natural progression, not an abrupt change. Gary Grice, formerly The Genius, now more commonly known as GZA, made a remarkable turnaround from debut to sophomore album, but would it have happened had his cousin The RZA not created the Wu-Tang Clan for him to feed off?

I really can’t stress enough just how astounding it is that Pantera came from a cliché, unremarkable glam metal band in the ‘80s, and instantly wiped all that history away with Cowboys From Hell. It didn’t hurt that this was their first major label record, thus pretty much their first real exposure outside their local metal scene. And that’s how the boys from Texas wanted it too, completely abandoning everything about their look and sound of old in favor of getting down and dirty as all the biggest thrash bands were doing. The transformation was so radical, so thorough, so complete that many figured Cowbows From Hell was Pantera’s debut. Maybe a few super hardcore fans from the area knew otherwise, but even they had to be astounded by how effortlessly the band pulled this off. Makes me wonder if any of the authoritative metal rags of the time knew it. Like, is there a write-up in a classic Kerrang or Guitar World issue musing on the same thoughts as above?

Whether approached as a debut or reintroduction for the band, bottom line is Cowbows From Hell is one kick-ass album, with plenty to enjoy whatever your metal preference is. There’s heavy shredding action throughout (Primal Concrete Sledge, Heresy, Shattered, Medicine Man, The Art Of Shredding), complemented by Pantera’s new-fangled ‘groove metal’ approach (Psycho Holiday, titular cut, Clash With Reality, Message In Blood). This is essentially halving the speed of trash’s brisk pace, giving more prominence to the rhythmic potential of their guitar attack.

The best songs though, are where they combine both techniques, plus throw in some gloriously melodic falsetto and dark imagery. Cemetery Gates is probably the most famous of the bunch, and maybe the most famous Pantera song period. Hell, I’ve had those Dimebag Darrell’s riffs stuck in my head for a solid week now! Another winner in this mold is chugging The Sleep. While not as structurally ambitious as Cemetery Gates’ segments, it still features a fucking epic solo from Dimebag. Holy shit, how you can not be a fan of this band after hearing it!?