Disappears - Power

Carving out a space somewhere in the middle of garage punk snarl, shoegaze haze, and Krautrock grooves, Chicago's Disappears feature Brian Case (also of the Ponys and 90 Day Men), Boas members Graeme Gibson and Jonathan van Herik, and Damon Carruesco. The band started when Case's other groups were on hiatus and he was recording demos with Gibson; Gibson brought van Herik into the project, and in turn, van Herik brought Carruesco into the fold. Soon after forming, the band self-released a series of 7" singles with artwork based on Can's album Delay 1968, and made its material available for free on the Internet. Disappears began recording their debut studio album and signed to Touch & Go, appearing at the label's showcase at 2009's South by Southwest festival, and also playing dates with Tortoise, Deerhunter, and Times New Viking. The band released 100 CD-Rs of Live Over the Rainbo -- a live album from the Deerhunter/Times New Viking tour -- which was eventually distributed by Plus Tapes and Rococo Records later in 2009. Disappears continued to play more high-profile Chicago shows, including a gig at the Pitchfork Music Festival and a 2009 New Year's Eve show with the Jesus Lizard. Late in the year, Disappears moved to Kranky Records, which released their official debut album, Lux, in 2010. The band also recorded a single with Sonic Youth's Steve Shelley and the noise duo White/Light. Disappears took a sleeker, more psychedelic approach on 2011's Guider; after Gibson left to pursue other opportunities, Shelley became the band's drummer. The following year's Pre Language, which was recorded at Sonic Youth's Echo Canyon West studio and mixed with John Congleton, was the first Disappears album to feature Shelley's work. Shelley departed the band due to touring conflicts, making way for former Anatomy of Habit drummer Noah Ledger. Disappears self-released the Kone EP early in 2013, and the starker approach they took on those songs continued on their fourth album, Era, which arrived that August. In 2014, the band played David Bowie's classic Low at the Museum of Contemporary Art Chicago as a part of the Bowie Changes concert series; some of that album's arty darkness was also reflected on their next full-length, Irreal. Recorded with John Congleton at Steve Albini's Electrical Audio studio, the album was released in January 2015. Late that year, Low: Live in Chicago, a document of the Museum of Contemporary Art performance, arrived. The band’s sound -- hypnotic swirls of guitar, to-the-point drums, snarled and sneered vocals -- is as simple as it is difficult to pin down: Disappears have an undeniable swagger, but they’re too hazy to be garage rock; they’re too gritty to fit in with the mostly wispy shoegaze revival; they’re noisy but not noise, raw but not lo-fi. Over the course of Lux’s ten songs, the band reveals a kinship with the darkest, most narcotic bands of the shoegaze era (Spacemen 3, Jesus and Mary Chain) and some of the most aloof, acerbic punk legends (Suicide, the Fall). However, Disappears actually have the most in common with vocalist/guitarist Brian Case’s other projects, the Ponys and 90 Day Men, in spirit if not in sound. Songs like “Gone Completely” and “Old Friend” mix the Ponys’ directness with 90 Day Men’s ambition, and share the heads-down intensity of both those bands. At times, Disappears’ songs are so driving that their groove threatens to turn into a rut, and some of Lux’s best moments occur when the band takes a breather and changes things up: “Not Nothing” allows Disappears to crack a smile with its irresistible beat and bassline, the title track borrows some of the Velvet Underground’s chugging, deadpan cool, and on “Little Ghost” Case trades his snarl for trance-inducing singing. Still, the fact that Lux is almost too consistent is hardly a problem for fans of the trippy, black-hearted rock that Disappears deliver so ably.

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On this year's Record Store Day, Last Shop Standing, a documentary about the rise, fall and renaissance of independent record stores, based on the book by Graham Jones, is released on DVD. Until then, "let's look at the trailer":

Frank Zappa - Auditorio de la Casa De Campo Madrid, Spain 1988- 05- 14

Penguin Cafe: NPR Music Tiny Desk Concert

Bob Boilen | June 16, 2017 — The music of Penguin Cafe is like no other. Its origins date back to the early '70s, within fever dreams Simon Jeffes had that were brought on by food poisoning. In those dreams he imagined a dispassionate world "where everyone lived in big concrete blocks and spent their lives looking into screens. In one room, there was a couple making love lovelessly. In another there was a musician sat at a vast array of equipment, but with headphones on, so there was no actual music in the room." Eerily accurate. But he also imagined a place, the Penguin Cafe, where folks could gather, for pleasure, cheer and music. He wanted to hear what that music would sound like, and so created the Penguin Cafe Orchestra. I was always a huge fan of that original music; listeners of NPR may have heard it often in-between news stories during the many years I directed All Things Considered. While Simon Jeffes died in 1997, his son Arthur has been creating new music infused with his father's original inspiration. He calls his group, simply, Penguin Cafe. You can hear Brazilian sounds in the rhythms, classical and minimalism in the strings, Asia in its harmonium, African sounds in the kalimbas. But honestly, it's none of these; it's a universal dream state. If you're looking to explore further be sure the listen to Penguin Cafe's recent album The Imperfect Sea, which nods to Kraftwerk, Simian Mobile Disco and Franz Schubert. It's none of these.

Performance Comp Week 4: Karen Finley

i saw live this..... “We Keep Our Victims Ready,” 1990. The performance is unforgettable, she communicates a lot with the audience, and when naked she covered her entire body in chocolate, provoked the audience, asked someone to volunteer if they wanted to lick the chocolate, and offered money!..... listen to a guy who tried. .... moments you will never forget “The Return of the Chocolate-Smeared Woman,” 1998 Finley was an early pioneer of interdisciplinary art, working as she did in performance, music, graphic texts, sculpture, installation, poetry, and drawing—all in the spirit of a public conversation. In 1990, she mounted her poem, “The Black Sheep,” cast in bronze right at the corner of Manhattan’s First Avenue and Houston Street. “We are the sheep with no shepherd,” she wrote. “We are the sheep with no straight and narrow. We are sheep who take the dangerous pathway thru the mountain range to get to the other side of our soul.” This was the first time I had witnessed an experimental artwork taken seriously by the general public. Everyone who rode the subway on the Lower East Side engaged with her piece, and we were its subject—all of us who came to New York City in the late 1970s and early ’80s looking for a place to belong. We had, she was telling us, found it. Today, Finley’s voice rages on, whether she’s tackling Trump and right-wing America in her performances, eulogizing the friends she lost to AIDS, or teaching performance to a new generation of New Yorkers at NYU. I have always thought of her work as a kind of panacea for society. It’s fitting, then, that we met at a place called Remedy Diner on Houston Street to have this conversation.

Zann 'Sevda Yolu'

The second in a series of compilations by Jura Soundsystem (label head Kevin Griffiths) brings together music never before released on Vinyl and some sought after out of print titles. The Double LP broadens the scope of the first Volume and touches upon a number of genres moving fluidly through Ambient, Electro, Dub House, Slow Disco and Library music before ending with some star gazing Esoteric cuts. ‘Transmission Two’ is bookended by Carl Craig, whose ‘C Beams Glitter’ has never before been released on Vinyl, and the actor Jeff Bridges, who provides a perfect finale with a message of personal empowerment set to the music of Ivor Novello winning soundtrack composer Keefus Ciancia. In between you’ll find Aphex Twin protégé Bochum Welt, John Rocca of Freeez and Pink Rhythm, Library Music aficionado’s Daniele Patucchi and David Arch, a Jura Soundsystem edit of Sapho, Hitman from the Philly World music stable, Hirini Melbourne (a Maori composer, poet and Author) and a beautiful previously unreleased song from Zann. This album is a sketchbook of music picked up on digging adventures from the mind behind Isle Of Jura with artwork from long standing designer Bradley Pinkerton. Limited Edition 180 Gram Vinyl Now On Bandcamp

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Andi Sex Gang - History

Andi Sex Gang (born Andreas Graham McElligott) is the founder, vocalist and main songwriter of the band Sex Gang Children who were a prominent act in the gothic rock movement of the 1980s. His band played at the infamous Batcave club in 1982. Repressed (1983): This debut album showcased Andi Sex Gang’s unique blend of post-punk and gothic rock, establishing his reputation as a captivating and enigmatic frontman. 2. Song and Legend (1984): This album marked a significant shift in Sex Gang Children’s sound, incorporating elements of alternative rock and experimenting with new musical styles. Blind! (1985): With its atmospheric and brooding tracks, this album solidified Andi Sex Gang’s status as a gothic rock icon, earning critical acclaim and a dedicated fan base. 4. Medea (1986): Inspired by Greek mythology, this album delves into themes of love, loss, and betrayal, showcasing Sex Gang Children’s musical versatility and lyrical depth. 5. The Quick Silver Years (1998): This compilation album features a selection of Sex Gang Children’s early recordings and unreleased tracks, providing a glimpse into their evolving sound. The Wrath of God (2003): Andi Sex Gang’s solo album explores themes of spirituality and existentialism, blending haunting melodies with introspective lyrics. 7. Rhapsodies (2004): This album features intimate and reflective songs, showcasing Andi Sex Gang’s songwriting prowess and ability to evoke powerful emotions. 8. Live at the Batcave (2005): Capturing the raw energy of Sex Gang Children’s live performances, this album offers a thrilling experience for fans of their dynamic stage presence. 9. Viva Vigilante! (2007): This album combines elements of punk, rockabilly, and gothic rock, resulting in a bold and edgy sonic exploration that pushes boundaries. 10. Re-Vamp (2011): With new arrangements of classic Sex Gang Children songs, this album breathes new life into their iconic discography while maintaining the essence of their sound. 11. Welcome to My World (2016): Andi Sex Gang’s latest solo effort showcases his evolving musical style, incorporating elements of electronica and experimental rock.

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