Silver Apples Of The Moon - Laika

UK POST-ROCK TOP 14: PART 4

Fuck I loved this record when it came out in 1994. I was already into UK post-rock shit and just starting to get into jungle. I saw this as a terrific amalgam of the two. Maybe we didn't really need it but it was ticking all my aesthetic boxes at the time. I'd been big on Margaret Fiedler's previous band Moonshake since they had released the Second Hand Clothes EP in 1992 followed by the classic Eva Luna LP that same year. Big Good Angel from 1993 was the last Moonshake record to feature Fiedler and was a classic for her to go out on. I must admit I never followed them after she left. The Laika project had me very excited though. Along for the ride were ex-Moonshake bass player John Frenett and producer Guy Fixsen. Chuck in Lou Ciccotelli on percussion, My Bloody Valentine's Colm O'Ciosoig as a digital editor and even Louise Elliot from Australia's great Laughing Clowns on the sax & flute. How could you go wrong? You couldn't, Laika didn't!

Silver Apples Of The Moon kicks off with Sugar Daddy and you can feel the city streets with it's sampled noise, rain and trains. Then a sultry propulsive beat kicks in while classic 90s bleeps drift into the mix as Fixsen and Fiedler sing together. Fixsen, who had produced Moonshake, takes on a more prominent role here. As well as co-engineering, he co-writes every tune with Fiedler, sings, plays synth and other instruments including vibes, marimba, melodica, the sampler and even guitar. Laika were about unison whereas Moonshake had been about tension. Fiedler mirrors Fixsen (or is it the other way around?) taking on all the same roles in the band ie. engineering, sampling, playing all the same instruments etc. Next is The Marimba Song which has a trippy, tropical and Can-esque vibe. This tune introduced the band to the world as two versions of it appeared on their debut recording, the Antenna EP. Let Me Sleep has frenetic beats, unbelievable bass, spiralling layers of free sax/flute and a general air of cluttered urban space. Coming Down Glass is an ultra spaced out funky wind-up toy hip hop jam with flute squiggles. The whole thing sounds like it was recorded backwards.

If You Miss starts out oppressive before a vibraphone appears to brighten things up but then it flitters back to darker terrain and continues to fluctuate between the parallel universes of isolationism and blissed out ambience for the rest of the track. In the meantime the hypnotic beat maintains an amazing flow motion. 44 Robbers has Margaret rapping kinda awkwardly like Debbie Harry, taut guitar lines that sometimes veer off into noise, Pacific(state) Island soundz and an incredibly tight rhythm like The JBs. Red River could be a Moonshake tune with it's squalling sax, tense noisy guitar shapes, claustrophobic minimal bass and tumbling out of control beats. Honey and Heat is a mesmerising off kilter urban dub tune with see-sawing samples. The samples here are meticulously crafted and create an entirely unique peculiarity. Expansive rolling rhythms, loopy flutes, eerie samples, choppy guitars and Guy's whispered vocals all contribute to the strange twilight of Thomas. The delightfully jazzy, almost surf instrumental Spider Happy Hour brings proceedings to a close.

Like a lot of UK post-rock's lost generation a duality was at play on this album ie. alongside the urban intensity was also a swirling intergalactic vibe. This often gave the music a disconcerting feel which made you want to come back for more so you could experience the discombobulation again and again. On their next LP, Sound Of Sattelites, Laika would rocket off into the stars completely, leaving the squalor behind them in a vapour trail haze. Silver Apples Of The Moon is a time capsule of intersecting mid 90s musical zones. A real curio. 

Eva Luna - Moonshake

UK POST ROCK TOP 14: PART 3

Moonshake have got to be one of the oddest bands ever. Not in a 'hey look at me, I'm freaky!' way though. They were kind of really normal which gave them an unsettling edge. You could see yourself in these guys and perhaps what you saw wasn't quite right. You felt like the daily grind of urban life had taken a toll on these people. A duality was at play here with two singer/songwriters tag teaming at opposite ends of the rock spectrum. Dave Callahan was kind of angry and on a vociferous rant while Margaret Fiedler was muttering to herself disturbingly. While Callahan and Fiedler got all the notoriety, this band wouldn't have been half as good without the most underrated rhythm section in rock history. John Frenett was on bass and his style was a marvellous intersection between dub and funk. Possibly the most awe inspiring element of the group though was the drumming/percussion of Miguel Moreland. It is hard to ascertain though how much of this dizzying percussive display is him or sequencing/sampling. I couldn't really give a shit because whatever it is, it's fucking great! Moreland made this band worthy of being named after a classic Can tune. Has drumming on an LP ever captured so much of the percussive spectrum? Moreland's playing can be really fucking heavy but he's also very nimble and can be light as a feather. The percussion here is all that and everything in between. Moonshake created this music which was an incredibly idiosyncratic expression of who, what and where they were at the time. Not only that, this must have been what they saw as a possible future pop template. It was all about strange blends and weird paradoxical amalgams. Moonshake were shouting out against the world and wanting to hide from it at the same time. They had a No Wave-esque negation happening and yet they embraced current state of the (pop)art technology. Reverence for music's past and musicianship was part of the equation too. Moonshake could only ever sound like Moonshake. Imitating this motley crew would be fucking impossible.

Ultra funky deep bass, groovy congas, surreal guitar squalls, flute, layer upon layer of sampled noise, taught guitar lines, saxophone squiggles along with Callahan's classic post-punk snarl are all jumbled into this kitchen sink mix and that's just on the first tune Wanderlust. Disconcerting atmospheres, black holes of dissonance, guitars bent way out of shape and Fiedler's cloying yet creepy vocals battle it out for a piece of centre stage action on Tar Baby. The title of Bleach & Salt Water says it all as this track is an ambient underwater urban dub whiteout. The beat here is whirling through a vortex to a startling degree. Moreland makes 3 minutes 40 seem like an eternity and I reckon I could definitely go another 20 or 45 minutes of this incredible groove. Little Thing meanwhile is rhythmic psychedelia, that's spaced out to the max. Only Moonshake could make a tune so ambient yet so tense. City Poison is like a history lesson in underground guitar noise. This is like a tribute to all the Posts ie. Post-Psych (cf.Krautrock), Post-Punk, Post Hardcore and Post-MBV. The beauty of this tune though is that it only really sounds like Moonshake. How the fuck did they do that? Spaceship Earth's clangorous guitars fly into an intense slide frenzy, then keep infinitely spiralling. Jesus, even Callahan gets melodic here! Beautiful Pigeon finds Moonshake at their most pop. Massive drums tumble wildly amongst the rest of the noise, while the bass stalks threateningly trying to hold things down as Margaret's eccentric whispers reach melodic levels as well. It was the grunge era so this could have easily been a hit but.......(?). They save the best till last, Mugshot Heroine closes this classic LP on a triumphant note. Horns go haywire, the rhythms get incredibly funky, discordant horror soundtrack strings jolt you out of your seat, ghost(town)like trumpets appear and all hell breaks loose.

Moonshake arrived at a sound (jam packed layers of samples that are piled up to bursting point that still feels like a mine field listening to it today) that was nearly pop. When you had a closer look at its dense layers of detail though it was all, well... quite bizarre. It may seem like an almighty chaotic mess but this LP is meticulously crafted down to every last microscopic sound. Producer/engineer Guy Fixsen is probably to be thanked for that. I've listened to this record hundreds of times and trying to write about it has got to be one of the hardest tasks I've ever set myself. Whatever I write will never do Eva Luna justice. You never know what's going to pop up or which turn it's about to take. This is a trip where the turbulence becomes so disorientating it sort of becomes beautiful (sort of....not really....I dunno....does it?).

Stupendous. 

UK Post Rock - The Lost Generation

In keeping with my recent recent posts about Main, Ice & Techno Animal I thought I'd go into a bit more detail on UK's Lost Generation of Post-Rock. Good ole Professor Reynolds was writing about these groups in the pages of Melody Maker from at least 1991 onwards. There's was an article in the 91 Christmas issue of Melody Maker with no byline that I assume was penned by Simon. It documented the first stirrings of a new (non)scene that included a bunch of disparate musical units committed to taking their music to the limits well away from the commercial alternative business of the time. Cranes were the hot topic with their 91 classic Wings Of Joy but they weren't what was soon to be called post-rock. They were a one off post-goth/industrial band with, and I quote 'a lush Scott Walker/Euro cabaret grandeur.' Anyway AR Kane's (forefathers of UK post-rock) label H.ark get a mention with their roster containing Papa Sprain & Butterfly Child. Kevin Martin's label Pathological rate a mention too with his own great band Techno Animal plus Oxbow (whatever happened to them?). Avant Yanks Cop Shoot Cop and Twin Infinitives era Royal Trux get thrown in the mix as well. But it was future post-rock icons Disco Inferno, Bark Psychosis and Main who were the most celebrated/anticipated in this article as some kind of future saviours of what was still being called Avant-Rock. Two years later in 1993 the lost generation were still dubbed as Avant-Rock along with the speculative term Cyborg-Rock, which never really gained any traction. I guess weird non UK bands like Young Gods and The Boredoms would have fitted this category with relative ease. In the UK though more and more groups like Insides, EAR, Moonshake Scorn, Ice, Seefeel were displaying un-rock tendencies in a beyond rock context so this wasn't a classification that was to properly fit. Avant-Rock still implied that the genre was still rock'n'roll at its core despite innovations and modern tendencies. While half of what ended up being called Post-Rock still rocked in some mutant form, the other half was not so rockin. Hence the term Post-Rock making perfect sense.

The thing is this music was already under my skin so by the time Simon Reynolds came up with the term Post-Rock for these bands in an article for Wire magazine's May 1994 issue (reprinted in Bring The Noise pages 186-193) it kind of didn't really matter. I've never really thought about it before but I guess it was named in hindsight as the scene had been going for 3 or 4 years already. As is usually the case with these things a demise was on the way with only a few classics of the genre to be released after 1994. Post-Rock now also included the likes of O'rang, Laika, Flying Saucer Attack, Pram & Movietone. Parallels were being drawn to other artists on the outer musical limits like Paul Schutze, Jim O'Rourke, Thomas Koner, Aphex Twin, Eddie Prevost, Zoviet France etc. In an article in Melody Maker in July 1994 past artists were retroactively inducted into a post-rock hall of fame lineage from The Velvet Underground to Krautrock legends Neu, Faust & Cluster to Brian Eno to Post-Punk groups like PIL, Cabs and The Pop Group to 80s UK noise/bliss rockers from JAMC, MBV, Spaceman 3, Loop, The Cocteau Twins, AR Kane etc.

Post-Rock was all about samplers, drum machines, studios, effects, sequencers, jettisoning the guitar as a riff apparatus and integrating the techniques of dub, 70s Miles Davis, Can, hip-hop, ambient & techno into rock. Guitars were still sometimes used but in more of an unfamiliar and un-rock way. Mixing real time instrument playing with sampling was the raison d'etre for some which gave the recordings a really strange edge. Others opted for a wholly synthetic approach. This bunch of groups rarely sounded like one another, they were on the outside, went out into these zones alone and wore that status like a badge. Some were beat scientists, while others severed beats altogether and space was the place. Anyway that doesn't really sound like Explosions In The Sky does it? This UK shit was the shit! This was the sound of my bedroom in the early 90s while your more accessable rock/pop stuff (Shoegazers, Breeders, Pavement, Mazzy Star, Portishead etc.) from the era made it into the lounge rooms of the share houses I lived in at the time, Post-Rock was not embraced by all and remained in the ghetto of my bedroom (along with strange septic tanks like Slint, Trumans Water, Thinking Fellers Union 282 et al.). This parallelled how Post-Rock was pretty marginalised in the outside world too apart from Stereolab who were quite the cult band.....I suppose.

I think a top 14 of the original UK Post-Rock is in order. This is when the term made sense, meant something and the music was bloody great.

THE TOP 14
Hydra-Calm (compilation) - Main [1992]
Eva Luna - Moonshake [1992]
May - Papa Sprain [1992]
Transient Random Noise Bursts With Announcements - Stereolab [1993]
Iron Lung - Pram [1993]
Under The Skin - Ice [1993]
Quique - Seefeel [1994]
Hex - Bark Psychosis [1994]
Evanescence - Scorn [1994]
DI GO POP - Disco Inferno [1994]
Silver Apples of The Moon - Laika [1994]
Herd Of Instinct - O'rang [1994]
Further - Flying Saucer Attack [1995]
Re-Entry - Techno Animal [1995]

*The top 14 has just one record per artist.
These are in chronological order.
This list is by no means comprehensive.
Each of the top 14 will be featured in a future blog post.

**Stereolab, Flying Saucer Attack & Third Eye Foundation all released gems after 1995. I must admit I didn't really follow the next wave of  Post-Rock groups from the UK. I'm actually struggling to come up with any of their names beyond the Flying Saucer Attack affiliates Piano Magic, Crescent and Amp.

Revival Analysis Spiral

"where the past, present, and future are all taking place simultaneously."

A quote from some joker over at Simon's Retromania site. Here's a fine example of a term I created 'THE REVIVAL ANALYSIS SPIRAL' after another article at Retromania. I'm trying to find an example of where I used that same sentence a few years ago and I'm sure I'm not the only one to put those sentiments into a sentence. I know my sentence was followed  with a question about Australian Aboriginals and if this was how they're concept of time worked? Anyway I can't bloody find it! Oh.... also I might have failed to mention to CardrossManiac2 readers that I have a bit of secret life in the comments pages of Retromania. There's a lot of great ideas and discourse on retro obviously but all things connected too like nostalgia, revivals, Curationism, going backwards, old stuff, the lack of new ideas in current culture, archiving, reissues, ennui etc.

'The Revival Spiral' is a term Lauren Cochrane came up with recently to describe something Simon Reynolds, myself and others have been talking about for years and that's revivals of revivals, revivals of revivals of revivals and so on. So I was inspired by her term to come up with 'The Revival Analysis Spiral'. This was coined because now people are repeating the same ideas, thoughts and theories about revivals and revival spirals. Commentary on nostalgia is being repeated, plundered, imitated and now watered down just like the the ongoing revivals themselves. I always thought Simon Reynolds could write a trilogy of books on the subject but now perhaps we're reaching examination exhaustion. It's all becoming a bit second hand clothes. That last sentence may just have been an excuse to play this tune by Moonshake.

Actually some musicians could use the sentiments in this song as a manifesto to try and break through 2015's retromaniacal musical stalemate ie. "I won't be seen dead in 2nd hand clothes!" Then again you might just be seen alive in a new classic Armani suit that could have been designed in 1962. But surely you understand what I'm trying to say.

Rome Fortune

Well the backing track is like Kraftwerk, then there's a Moonshake(the group)-like sample followed later by a Pole-esque unskank at the end. It's an incredible production whether the producers are hip to these references or not.

More haunted soundz similar to Burial ala Drake, Schoolboy Q etc. The sound of sweet emptiness.

Controversy

Created a little controversy on Twitter and over at The Quietus all about Ariel Pink. I just think he's had all these theories thrust upon him and in one interview was quite frustrated by it all saying he just wrote songs whether they were retro, now or future he couldn't care less. Finally got the vinyl of Ariel's Mature Themes today and there is a lyric sheet but I have not read it yet. Geneva Jacuzzi co wrote Kinski Assassin with Ariel which I didn't know. I may check out out what he says about North Korea in Farewell American Primitive but that's about it.

*Listening to Lucifer by Peaking Lights I was thinking they sound like no one else really which is incredible  in this day and age, but there was one tune on the last record that had a little keyboard interlude (of like 25 seconds) that had me flashing on Laika's Sound Of Satellites record. Then there is another one on Lucifer which had me thinkn very vaguely of Moonshake/Laika, all very tenuous links. Like saying someones similar because they use the same guitar. They are very allusive group! You kind of think surely there's been 10 groups like this before but there haven't.

**Been listening to both the Gary War LP and The Human Teenager one and they are both fantastic. The way they try to be Chrome but just end up sounding like a kids version which is even better because we've already had one Chrome. I think it's pop music. Gary's Pleading For Annihalation could be from a prime era Chrome LP. This Ilitch 10 Suicides record that I only discovered this year seems to have been a secret influence on a lot of this American underground stuff. I think I said at the time Oneohtrix Point Never must be a fan and you can add Gary War and Oneohtrix and War collaborator Taylor Richardson as fans. Then I put on Lamborghini Crystal's Roach Motel and well they got a little closer to Chrome's dementia and Human Teenager were probably listening. Fuck me Roach Motel is one of Ferraro's best efforts, really grimy (not in the D.Rascal sense) and mental.

Chrome-A couple of funny guys.



2008 Classic
Roach Motel - Lamborghini Crystal



On the Hi-Fi

So I ended up going back to The Velvets Loaded and you know it's ok but you know compared to the first 3 ??? I'd prefer to listen to those 2 records put out in the 80s VU and Another View (another gone missing). Anyway this somehow got me onto Coney Island Baby, Lou solo and I've been diggin that. So it's all win/win really. I don't really know if people rate this Reed LP and I couldn't really give a rats toss bag. These are all top records!

Now in the unlikely to be listenin to this now category that I guess Stereolab were in a while back there. Moonshake's big good angel ep from 1993 and weren't they a funny band sort of at an intersection of post punk, post MBV and (for want of a better term) post rock. They were kinda 2 bands in one but it was that dichotomy that made them so compelling. There were so many ideas going on it was fantastic. The possibilities seemed endless but I guess something had to give and the band split in two. Callahan kept the name and continued on and I must admit I never heard those records but I think he had label mate PJ Harvey guest on a couple of tracks. Anyway Margaret Fiedler's songs on big good angel were a prototype for Laika her next project which is where I'm at now with the first ep Antenna where the claustrophobia and spaciness meet. They were a fine band. I guess I'll be diggin out the first couple of LPs soon once I stop being Oneohtrix Point Never.

Then there is like five records I've hardly got to. Today Fabulous Diamonds 3rd record came out. They called it Commercial Music, so maybe they're a comedy band after all. Sounds pretty good so far. I dunno if there are any jokes in there though. If Peaking Lights can be somewhat successful I can't see a reason why Fabulous Diamonds can't do the same. I'm thinking this is as good as the first one and oh they really have sold out, there's song titles on Commercial Music. Trip out on these groovy drones man. 

                                                        

Then there is this download from bandcamp that I have only listened to once but sounds awesome and a little spooky. It's called the Ghosts of Bush House by The Fog Signals. When I first saw that title I thought what they named a form of house music after one of the Bush Presidents? and now it's coming back into vogue?. How wrong I was. Bush House was apparently a BBC building with studios, offices and whatever. Anyway The building was quite resonant and some guy has gone and done some recordings there. Experimental gear like that Australian guy who recorded telephone wires in the outback. What was his name? I've got the cd somewhere............

The Fog Signals

Finally there's two bargain bin bewdies I've not even touched yet but can't wait to listen to. The first being Supermodified by Dave Graney & The Lured Yellow Mist.

So this is a period of Graney's career I missed I think. There are gaps baby, who was I in the early 00s? It's remixes, obscurities and retakes of tracks from the early to mid 00s as far as I can gather. Should be interesting as always. $5! Larry Emdur stylee.

I liked them when I was little! I wonder what I'll think of them now. We had the Beautiful Album on K-Tel if I recall correctly which must have been after this. Wasn't there a song Prefab Heart I loved that. Anyway who knows where I'll stand on this today? I remember tangled telephones and channels in hairdoes, all very new wave of course and appealing to preteens. New wave was great for that age.