Smokable Birth Control

Why Is Anything Forbidden?

2006-05-15T17:34:00.000-07:00

Various Artists – Why Is Anything Forbidden 2
Deathbomb Arc

Not you average kind of “tribute” album, Deathbomb’s “Why Is Anything Forbidden? Volume 2: A Tribute to Cash Money Records” features a diverse group of artists sometimes covering, sometimes mutilating, and often just reacting to the songs of the “bling and hoes” obsessed record label. While I feel like all of the tracks were interesting, I feel like the artists succeeded most when directly addressing their subject, either through literally covering a song, or incorporating subject matter found in these types of songs. The cover of “Big Pimpin” by Pho & Rose For Bohdan, showcased a sense of playfulness and changed a few words to include a shout out to Deathbomb. With “Back That Tush Up”, Alarmist take a ridiculous title and make it sound like a serious threat. While there are many other highlights here, the stand out track has to be Business Lady’s transformation of Juevenile’s “Slow Motion” into the compilation’s eeriest moment. The group’s decision to literally slow the songs tempo makes it sound less like the amped up ramblings of a party-ready MC, and more like the sordid confessions of a serial murderer in denial, who tries to justify “...those hoes I beat up in my home”. The compilation also features tracks from a number of other notable underground artists including Rainbow Blanket, Captain Ahab, Friends Forever, Warbler, Anavan, Xiu Xiu, and more.

Deathbomb Arc

Yellow Swans

2006-05-15T17:02:00.000-07:00

Yellow Swans – Psychic Session
Load

Yellow Swans are back with their 2^nd studio recording, now reissued on Load records. The first track, “True Union” announces its arrival with some piercing tones that gradually give way to the sounds of helicopter like percussion and garbled vocals. The piece builds in its intensity, which leads to the vocals returning prominently just as the song draws to a close. The album’s title track begins with a short spoken intro, followed shortly by some serious electric pounding. Things seem to calm down at one point, only to be rudely interrupted by a wall of distortion. “I Woke Up”, the third track here, stands out for its use of various percussive elements. “Velocity of The Yolk” closes out the album on a slightly (and I mean very slightly) calmer note. It’s also important to note the album featured many notable guests, including noise makers/label honchos The Cherry Point and Gerritt, as well as Eva Inca Ore of Alarmist, Gang Wizard, and Jackie O Motherfucker.

Load

Argumentix

2006-05-03T17:51:00.000-07:00

Argumentix – Tarantula Downpour 7inch & DVDR
Trash Skull

I had never really heard anything by Argumentix before this release, which I now see was my mistake. On this, his first vinyl release, James Squeaky of Argumentix manages to blend many sounds and styles together without coming off scattershot. On the first track “Tarantula Downpour”, the listener is treated to the sound of dubbed out noise clatter topped off with Squeaky’s foreboding vocals. The B Side features much more melancholy vocals at times reminiscent of Ian Curtis of Joy Division, accompanied only by piano and what sounds like waves of static in the background. The DVDR included with the record features 8 music videos animated by Squeaky. The visuals range from the director himself, his cats, action figures, and a variety of impressive color manipulation. The all around great production quality of the package itself (70 gram vinyl, great artwork) also leads to a great overall experience.

Also, the kids are talking.

Trash Skull
Argumentix

Barkley's Barnyard Critters

2006-05-03T16:45:00.000-07:00

Barkley’s Barnyard Critters – “Mystery Tail” DVD
Load Records

Rock band front-dog Barkley, a talking and transforming cane named Rudy, worldwide playboy Magnificat, and rap rocker Snake Doggy Dogg are just a few of the many odd characters you’ll meet over the course of this film. The movie was written, directed, and produced by Brian Gibson of Lightning Bolt/Wizardzz fame, and couldn’t be more fun. The story centers on Barkley, a beer loving dog that’s recently left his band and must fight his way through many obstacles to win back his fame and respect from the genetically engineered rap rock star Snake Doggy Dogg. The film is even more surreal than that last sentence might make it sound, but anyone who’s a fan of the non-anime side of Adult Swim could find plenty to love here. “Mystery Tail” was shot with 2-d animation, computer graphics, as well as live action sequences leading to a visually diverse and engaging mix of styles to hold even the most ADD addled viewer’s attention. The best moments include Barkley’s interactions with some shady characters on a mysterious pirate ship, the climactic battle of the bands, and pretty much everything Rudy says.

The DVD also features some bonus material. Included is some live footage of Gibson’s band Wizzardzz (who also provide the film’s soundtrack), a series of clips from the “Totem Tour” featuring some live action Barkley’s characters, and the first episode of Barkley’s. You can view the second episode on Load’s “Pick A Winner” DVD.

Load Records

Portable Noise Kremator

2006-05-01T17:31:00.000-07:00

Portable Noise Kremator – “Angst At 3am”

Mangenerated

The sounds found here fit their album title nicely, which may be the only appropriate way to use the word “nice” in regards to this music. Portable Noise Kremtor create loud, destructive drones with the occasional painful metal scrape thrown in for good measure. Speaking of metal, the packaging apparently includes pieces of torn up beer cans consumed during the making of the album. This is what I imagine Growing would sound like if they were seriously pissed. Fans of SUNN O))) and Doom in general will not be disappointed. Though, in some cases fans of this type of music are trying to feel “disappointed” so maybe I should say they will feel “the emotion which is their desired result.”

Mangenerated

Fat Worm of Error

2006-05-01T17:07:00.000-07:00

Fat Worm of Error – “Pregnant Babies Pregnant With Pregnant Babies”
Load Records

Based solely on this bands’ amazing band name, cover art, and even more ridiculous album title, I’m inclined to take the advice of the last line on the album’s first track: “I think we should worship it, just to be safe”. Fat Worm of Error makes music that sounds like the result of some clandestine experiment in which a group of crazed orphans were locked in a recording study, given a box full of odd instruments and noise makers, and repeatedly shocked every time they attempted to record something even slightly close to conventional music. The group’s music ranges from a deconstructed rock sound accompanied by almost child like vocals heard on the aforementioned first track (Special Bonus Thing), to a more slow droning burn on tracks like “La Mortdans La Ville du Bois Vert”, as well as a virtual grab bag of percussive instruments that seem to be tossed about at will.

For those interested in some “real” member info, the band contains former members of Deerhoof, but personally I think they should run with the orphan cover story I suggested above. If anything it’ll get them featured in some human interest piece on NPR.

Load Records

"T.W.A. Terror Comp"

2006-05-01T17:00:00.000-07:00

Various Artists – “T.W.A. Terror 5002 West Womb Document”
Deathbomb Arc

This compilation was put out in support of a tour with Emil Beaulieu and Brian Miller & Kevin Sheilds. The disc features three remixes of Mr. Beaulieu, a solo track apiece from Miller and Shields, and slew of other bizarre noise tracks. Some highlights include a three track suite from the noise band from outer space Rubber O Cemment, a track from Take Up Serpents that sounds like a bunch of elephants running over a welding factory, Tralphaz’s harsh and engaging “The Clock Horror”, and the tracks by the aforementioned tour mates. Also, the disc is housed in this insane 3-D pop book type cover, so that even if you don’t open it up and listen to the disc for a few months (like me), it will still be a constant source of conversation for anyone who sees it on your desk.

Deathbomb Arc

Wizardzz

2006-05-01T16:17:00.000-07:00

Wizardzz – “Hidden City of Taurmond” CD
Load Records

I can’t remember the last time I put on an “experimental” record that immediately put a big goofy smile on my face. Being suitable for both chin stroking musical analysis AND a midnight trip to Wienerschnitzel, the new album by Wizzardzz manages to have a trait that’s sorely missing in most experimental releases – a sense of fun. The songs here feature steady drumming and a mix of prog-worthy synths that conjure up images of grand yet goofy D&D battles and warlock training montages. The band shares a member with another grin-inducing band, Brian Gibson of Lightning Bolt. But where Lightning Bolt is all earth shattering rock, Wizzardzz prefers to move at a steadier, but just as entertaining pace. Just so were clear, when I say “steady” I don’t mean it in the negative sense, I mean in it to the totally awesome “We’re going steady and get to make out all the time” kind of way.

Load Records

Brian Miller & Kevin Shields

2006-02-13T21:41:00.000-08:00

Brian Miller & Kevin Shields -
"We Had A Baby And It Will Die" DVDR
"Anarchy Is Gay" CDR
Deathbomb Arc

I'll go ahead and answer what perhaps is your most obvious question: No, the guy from My Bloody Valentine is not putting out underground collaborations with Brian Miller of Gang Wizard. The Kevin Shields you hear on these visual and audio documents is actually Eva Anguila. Now you may be asking: "Well, is that really Brian Miller?" The answer to that inquiry is yes. I know it's confusing, but it's worth it. Trust me.

Brian Miller & Kevin Shields make noise with a sense of fun. This shines through very well on the DVD R, which is a document of the duo's last tour. The performances feature "Kevin" operating a variety of electronic devices while Brian lifts, pulls, and tosses amps around. Brian also runs about taping things together, which can include anything from the equipment to the audience. During all of the performances it's easy to catch both artists smiling and bobbing about with sheer joy. The sets often end in a playful wrestling match between the two. All of this occurs while the sounds of piercing feedback and electronic fuzz emanate form around them. This provides a welcome contrast to the approach of many noise artists who prefer to simply hunch over their pedals and nonchalantly create chaos.

On "Anarchy Is Gay", the group presents more documentation of the aforementioned tour. Some highlights include a spaced jam out on the third track, furious sound panning on a collaboration with Tralphaz, and some almost playful electronic beats running alongside harsh bursts of sound on the fifth track, featuring sounds from Jake Anderson (of Gang Wizard, Celestville, and Yuma Nora).

Both releases paint a picture of an engaging and fun experimental duo. They're on tour right now, so why don't ya go see them and pick these up.

Deathbomb Arc

Brian Miller & Kevin Shields Tour Dates

Brandon Bird

2006-02-08T01:20:00.000-08:00

"Lazy Sunday Afternoon" By Brandon Bird

I picked up a postcard at Comic Con this past summer of the above painting. It's by Brandon Bird, and you should check out his site. There you'll find a wide variety of paintings and sketches, everything from a cubist rendering of the cast of Family Ties to Sam Waterson (Law & Order) watching transformers fight.

Brandon Bird

Hanson Underground Series Volume 1

2006-02-08T00:37:00.000-08:00

Various Artists - Underground Series Volume 1
Hanson

This is the first in a series of cassette compilations being released by Aaron Dilloway's (ex-Wolf Eyes) label Hanson Records. First up is Syndromes, who craft a track that sounds like a creaking machine with some approaching doom in the background. The Nevari Butchers sound like someone keeps rhythmically slamming a cellar door shut while another butcher is trying to break all the appliances in the house by running them at once. Raionbashi closes side one with some mellow sounds varying from a robot gurgle to an electronic moan. Kicking off side two is Lee Rockey playing some tense violin over minimal feedback and electronic squelches. Up next is John Wiese, whose expertly edited track is the audio equivalent of a child feverishly coloring between the lines. Closing the tape is Twig Harper of Nautical Almanac, who seems to forcefully summoning noise out of various objects around him. All around a good compilation. It's limited to 100 copies, so hurry up and get it.

Hanson

Brian Miller Interview

2006-01-25T00:13:00.000-08:00

Brian Miller is a busy guy. He runs a label called Deathbomb Arc, the Neon Hates You Distro, and is a member of Gang Wizard, Rose For Bohdan, and Foot Village. Luckily for me, he found time in his busy schedule to take part in this interview. Over the course of a few late night emails we conversed about noise, Neil Young, and the beer hat. Enjoy.

In case you can't tell my questions are in bold.

You've participated in quite a few different musical projects, working with structured songs as well as improv and noise. Is there a format you prefer to perform?

Eventually I just realized that no music sounds good if it doesn't fit with the level of chance that you have to deal with. There is no way a band like the Locust could pull off doing as complicated as much as they do now when they were playing random houses getting pushed around by the audience etc... But now that they are on stage and get good sound checks... Rose For Bohdan does all "written" songs now, but they are designed to play different every time. Sections are only as long as we decide they are and we have built in ways to steering them. The emotional pitch of playing small shows sometime to stoked audiences, sometimes to indifferent ones, makes us play with a different vibe. If the songs can't handle it, they'll break. Rose for Bohdan is my favorite balance, sorta improv, sorta structured. In bands like Gang Wizard or my solo noise stuff, if it’s a bummer of a night and I can't find the will to care, then the lack of structure means there is less jumping off point for getting stoked. I have ways of handling that too, but honestly I prefer not having to work that hard for a show. Having a little bit there to begin with and then a lot of freedom to roll with it once the vibe going is my favorite.

Besides running a busy label and distro, you're also involved in numerous musical projects. Does this ever lead to any sort of onstage confusion for you? (Such as losing track of what song you are playing/who you're playing with) And to you ever find yourself regretting being involved with so many projects?

I always admired Neil Young for bailing on projects when he lost the inspiration. Even if they were successful. Of course, you piss some people off, but if it results in you making the most good music you can, then you'll be making a lot more people happy. Besides, it's just music, not something important like the sanitation of a city or taking care of people's health. For as many projects as you see me in, I've also left just as many, and had other people leave. Sometimes there is resentment, sometime not. Sometimes a band can go on without someone and sometimes it makes no sense. The best part about being in so many touring bands is that for the last year and half I haven't had to keep an apartment anywhere because I've been gone most of the time. Deathbomb definitely makes enough money to pay for an apartment less lifestyle. Some of the people in bands I'm in have been bummed that I'm gone for a long time with some other act, but I do the best I can to rotate from one band to another and when a particular band is in season I give it my all. And like anything fun, I miss touring with one band once another starts up, but how could I complain? I do sometimes experience the negative emotions you suggest would occur from all this, but it is easily remedied. Its nice to crave playing with another act, makes me put more love into it when I finally can.

It's interesting you mention Neil Young. He also famously turned in some recordings deemed "noncommercial" by his label. Being in charge of a label, do you ever find yourself wanting to release something that your demographic might not be ready for? Such as the possible aforementioned "ground breaking pop punk band" or a band featuring all drums (Foot Village). Or do these kinds of things even ever enter into your decision making process?

Its all 6th sense. I got to love it. I maybe have to know how I'm gonna sell it. But that’s why I still put out tapes and cdrs and lathe cuts as well as cds and vinyl. As much as I may love some album, I don't want 900 copies of it in my office. If people expect anything from Deathbomb is that it is weird or daring or something, so the specific issue you raise I don't have to worry about. But I do need to put out quality. Not sure who my demographic is... the label is probably too small for that word still. I guess I can dare to dream too much... even though more love and care and.... obsession. has been put into the Argumentix & Brian Miller box set (which includes a zine, a t-shirt, 2 3" cdrs, and comes in an insane box) not many people have bought it because of the $25 price. That "die-hard" dba audience that will buy everything is prob 3 people. So like I was saying about creativity... you got to give people something they can relate to. A self-obsessed harsh noise meets opera about sickeningly cute kittens for a lot of money may be a little too left field for people. But I just had to do it. It is one of the best albums I ever took part in recording and that is just a perk of running a label, getting to do shit like that. Thank god I also put out a Xiu Xiu 7" this month. :)

In the last few years I've noticed quite a bit more noise coming out on Deathbomb, as well as being carried in your distro. Have you always had an interest in it, or did something about it catch your attention in recent years?

The increase in noise stuff on Deathbomb is probably parallel to the increase in noise being made in general. I put out what I like of course, but I also put out what I'm exposed to. Its more common to see a good noise act these days than a good pop band. In fact, I was complaining recently that I want to put out a groundbreaking poppunk band but I just haven't found one that blows me away yet.... Well, that’s not true, Spooky Bomb Squad was that for me, but they broke up. Fortunately I got to put out 2 songs by them before they vanished. Also, over the next year I'll be putting out more and more trashy diy dance stuff aka Ravesploitation stuff cuz I've started an imprint of deathbomb called Ravesploitative with my friend Jonathan who is in Captain Ahab.

You mentioned that it's more common to see a good noise act these days, and I'd agree. Why do you think that is, and do you believe that's the reason noise is getting more attention now in some circles than it has before?

Good music is nearly synonymous with creativity... which isn't necessarily exploration. Take people that invent new technology. The genius of the group will invent stuff people need, invent things that integrate with what is around them and the other technologies they already use. That is creativity. The merely explorative inventor will invent wacky things like the beer hat. Creativity in music is partly explorative, but a real musical genius will know how to speak to people... something the reflects the world around people, has a relationship to the other sounds/bands people hear, and is just new enough to say it in a new way, but not necessarily say something completely left field. This natural flow every once in awhile receives a larger jump than usual (animal collective.... my bloody valentine... sonic youth... aphex twin) but even than that seems natural/accidental to me. Noise has been growing in popularity this way for as long as I can remember. It is inspiring to be a part of new developing sounds and in turn further contributions to the noise movement make it grow in mass consciousness providing more opportunity to do great new things with noise. I was shocked this past fall to see how absurdist and comical noise in San Fran is as opposed to the moshpit friendly stuff that Men Who Can't Love have cultivated in LA. As people keep injecting new ideas in noise, the "noise" element may very well loose its fertility and something new arise. Although, I do realize I'm talking about something very subjective.

But noise is not the only direction in music that I see this going on in. In the midwest I see lot of inspiration coming from the Realicide crew that has a little overlap with noise, but primarily has been growing out of the hardcore electronic/gabbercore/speedcore genre. Their roster of artists grows and grows and everything I hear from sounds amazing. I'll give some links at the bottom of this text. And again, I return to the LA centric Ravesploitation stuff which also can be seen all over the country. Kids doing this cheesy house/eurotrash/cashmoney/cheap beats hiphop inspired DIY dance music.

Any final comments you'd like to make?

working as much as i do makes me ill all the time. beware.

Here's some links Brian would like you to check out...
Realicide shit:
Realicide
dj THUMPER!
Mavis Concave

Ravesploitation shit:
Ravesploitative
Captain Ahab
Anavan
Explogasm
Totally Radd
Big Digits
Slow Jams Band

Also his label...
Deathbomb Arc

Kites

2006-01-23T23:21:00.000-08:00

Kites - "Peace Trials"
Load Records

Despite what some may believe, there is definitely an indie-music mainstream. It contains all the trappings of the regular mainstream, chief amongst which is a propensity towards trends. Some new "it" genre comes out and the next thing you know there are 73 electro bands where their only used to be 7. In the past two years, that new genre has been dubbed "freak-folk". In addition to that, there also has been a greater attention paid to "noisier" releases by groups like Wolf Eyes, Lightning Bolt, and SUNN O))). Considering all of that, Kites new album "Peace Trials" might seem like a cheap attempt to cash in on the new crazes. Fortunately, that couldn't be farther from the truth.

Christopher Forgues aka Kites has been making music like this for years. On "Peace Trials", his second full length album for Load, CF blends his haunting, minimally accompanied lyrics with a variety of piercing feedback and loud drones. This is definitely one of the more diverse noise records I've heard in a while. The album also features some great artwork, which is something that can often be lacking in a lot of noise releases. Also, since this is on Load it will remain in print much longer that your average noise tape. This would be a great CD for someone who'd wanted to look into noise, but didn't want start with something that was all harsh all the time.

Load Records

LHD

2006-01-23T00:59:00.000-08:00

LHD - "Opaque"
Pure/RRR

LHD is the long range missile of the Blankenship/Wiese arsenal. While not as prolific as Blankenship's project The Cherry Point (which carpet bombs the noise landscape with limited edition tapes and CDRs that disappear as fast as they came), or as steady as Wiese's solo material (usually on a vinyl format, and often as an "axis of evil" type split release), LHD releases take their sweet time getting to you. They show up unexpected, and destroy every thing in sight. And what about the collateral damage?

"Aww man, I thought you said you were gunna make me a mixtape of that new experimental band on Sub Pop. This just hurts my ears."

Your unsuspecting hipster friend probably couldn't handle Wolf Eyes anyway. You might as well declare war on them with this.

RRR

The Cherry Point

John Wiese

Callow God

2006-01-22T03:52:00.000-08:00

Callow God is a noise label run by Jeff from Rainbow Blanket, Men Who Can't Love, Impregnable, and Roman Torment. I just received a bunch of his new releases in the mail and they all looked and sounded great. The two below are still "in print" as of press time.

Also, I believe Impregnable is on tour, so you should go check that out.

Impregnable - Cherish 2xc-12
Two 12 minute cassettes packaged in the same vinyl case with beautifully subtle artwork. The artwork makes for a stark contrast to the first three fourths of the release, which feature fast and punishing no-bullshit noise. The final side features a well done ambient track which functions as a great come down from the previous onslaught. One of my favorite noise releases of late.

Roman Torment - Bewilderment c-10
Super groups, crossovers, and collaborations usually tend to be at best disappointing and at worst mind numbingly annoying. Anyone remember Damn Yankees? Dylan and The Dead? Nelly and that Country Guy? The Founding Fathers? But then sometimes you get lucky and it's totally awesome. Like that episode of Family Matters when Tim Allen accidentally parachutes into their backyard and spends the day totally getting shown up by the cast of Family Matters. Even though the cast wasn't regularly mind-blowingly funny, having the then "king" of awful sitcom humor around kind of stepped up their game and by comparison made them look more like members of the Royal Shakespeare Company and less like actors on a paint by numbers black sitcom. Well, this is kind of what that was like, except Tim Allen isn't involved at all, both collaborators are good, and it's 10 minutes of great noise instead of 23 minutes of mediocre television.

Callow God

Welcome!

2006-01-22T03:28:00.000-08:00

Welcome to Smokable Birth Control!

Here I'll be posting a variety of music-related text. You'll see reviews, interviews, odd features, and probably a lot of other generally unhelpful commments from yours truly.

My primary interest is the wierd, experimental, and obscure, but it's not limited to that. Who knows, you may even see me review the next Ataris album. Ok, probably not that record, but you know what I mean.