DJ D-Man & Billy Boy - Dooky Boody (1995)

My friend Bria recently asked me to help her track down the songs on this list. I was surprised about the lack of availability of most of this material via my usual internet piracy waters, and I had to resort to old-ass tricks to dig most of it up. This inspired me to post this dang ol Dooky Boody so that someone who is looking for it can find it and discover pleasure in their lives.

"She got a big ol dooky boody" is one of my favorite vocal hooks to come out of my home city, and that paired with the "duh doo doo dun dun dun" melody is a real tapeworm for your ears' dookie booties. The production on this track isn't really that cool since it's mostly just a Percolator sampler, but I don't even care at all because the only thing I can think of is a nice .7 waist-to-hip ratio. Although maybe a "Dooky Boody" is more like a .15 or something. Check Urban Dictionary.

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September - Dancing Shoes (2007)

My Kylie Minogue post got taken down, so, here's this September record to fill the void.* This is really along the same lines: disco dance pop that bangs it from top to bottom. Bang bang bang. You probably remember "Cry For You" from the radio a few years ago. "Just Dance" was popular around the same time, and these two compositions are eternally linked for me as "songs where I like the pre-chorus more than the chorus."

The melodies on this record tread the epic dance pop path, but defy expectations just enough. The beginning of the chorus of "Can't Get Over" bites a well-known pop song that I can't quite get off the tip of my brain right now,** but the second part of the phrase takes an epic twist that really gets the endorphins flowing. The real strength of this album is its focus, though. The tempos stay up, and there aren't tons of syrupy bullshit ballads buffering the singles.

Also, I was listening to mainstream urban radio today, and they transitioned from Mobb Deep "Quiet Storm" into some fucking stupid-ass Black Eyed Peas song, and it was unbearably jarring. Evan Parker into September is my blogger tribute to this upsetting transition.

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*Just kidding, nothing can fill the void.
**FINE YOUNG CANNIBALS, bitch.

Evan Parker - Monoceros (1978)

When dealing with experimental, modern, atonal, etc. music there is a key component that separates the listenable from the unlistenable. Evan Parker certainly has this intuitive ear for melody amidst his aggressive free improvisation on the soprano sax. For fans of US Maple, Cecil Taylor, & Leo Ornstein.

This flurry of notes and changing registers is what I imagine social interactions to sound like to an autist.

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Guest Mix Volume 13 - Helm

If you care about the cool internet blogosphere music community people, you will recognize Helm for his insightful commentary and his deep dedication to heavy metal. He is also a brutally talented artist (see the illustration above), and his work is visible on his blog ASides-BSides. This mix features some awesome weirdo "techno thrash" bands, as well as one of the coolest bands that I've heard in awhile, Socrates Drank the Conium. Once again, my guest poster wrote a lot, so I will shut up.

Hello. I am Helm from Asides-Bsides. I listen to a lot of Heavy Metal and sometimes write about it. Todd Nief of Primitive Future asked me to do just that for you so here's a mixtape and some notes on the songs below.

Waking up today was strange. I suffered from peculiar post-apocalyptic 'digital life' nightmares that I couldn't awaken from. Lots of shit went down but dreams being what they are, most of it is hazy now. All I remember is at the end of the dream I was too afraid to unplug myself from a grotesque body-horror life-support mechanism in fear of not so much death than being 'offline from the world'. Does that sound familiar?

I finally broke the dream paralysis by screaming at the top of my lungs - in the dream, in reality I barely coughed waking up. So, I take a look around in the room and see two monitors staring at me, an abundance of cables lining the floor, felt really weird. Of course I ran to the internet first thing. This playlist was assembled to put my foul mood to some proactive use, plus give me something to do until I felt better. Listening to the full thing seems to have helped, so there you go, self-medicating for information globalism with the Heaviest of Metals.

01 - Shadow of the Beast - Intro

This is a remix of an old Amiga game's intro music, called Shadow of the Beast. I put it on until I could figure out the first few tracks of the playlist but heh, it sorta fits the mood so at the end I left it in.

Here's the intro image from the game. The original tracker music is by Dave Whittaker, if you're interested. I love the synthetic flute, very melancholic.

02 - Obliveon - Cybervoid

This pretty much captures the emotions the dream conjured. Obliveon were a lesser known Canadian thrash outfit obviously influenced in thematics and sound by Voivod. They put out 'Cybervoid' in 1996. They remind somewhat of Meshuggah but I find their compositions to be more succinct and less abstract, hence more enjoyable. The interesting quality of this song is that the lyrics are hilarious on their own,

"Face the void, prepare for the fight
Victimized by cruel megabytes"

but along with the music the end result is effective. Or perhaps it just did for me because of the dream paralysis.

03 - Protector - Nothing Has Changed

Well, this is a downer. Look at these guys,

They're German, they play thrash. Expecting Kreator-cloning or something, right? Well, yes although for my money Protector are more savage and visceral than Kreator (no kidding, check out their EP 'Leviathan's Desire'). But on this song we get one of the more depressing doom songs from a thrash band the are.

"The buildings are made of gold
The sun shines bright
Out of a blue, a clear blue sky
The streets are clean
The people laugh
The animals are free
No hate, no one cries
No more distrust
No more disgust
And no more war
Peace forevermore

No industry pollutes the water
The sea is filled with movement and life
The governments scrap all their useless weapons
They are not bribable any longer
Everyone is happy
No more pain

But suddenly it's fading away
I wake up it's 12 o'clock
And I realize, nothing has changed. "

I don't know, it's not just the lyrics. That monophonic guitar tone is murky as hell, the sharp harmonized solo on top punctuates the sentiment. The chant at the end "nothing has changed, nothing has changed" underlined by throaty screams of each word on its own. There's proper doom metal bands that have tried for records to achieve what this oddity in a thrash band's catalogue manages excellently. But where to go from here?

04 Osiris - Futurity (Something to Think About)

Oh, that's right, techno-thrash.

Not only this cover is exactly how I felt this morning, the music also captures a specific metal zeitgeist very successfully. We're back at 1991 here, thrash is trying to grow up, touches on existentialist concerns, the scope is modernist, so on. Here's some interestingly dated lyrics to go with it:

"Gazing into my crystal ball
It never seemed so dark before
The world is lost and lonely
Year 2011, twenty years from now
Will there be earth, will there be people?"

We'll see soon, Osiris.

Actually to be more precise Osiris are a bit late to the modernist techno-thrash/progressive metal party. The height of this genre's potency was circa 1989-90. When the Soviet Union collapsed, signaling the end of the cold war, a lot of this paranoiac techno-thrash (and lots of metal in general) lost its raison d'etre. But for all we know Osiris were perfecting these songs for a couple of years before the record was released. Anyway, I'll write about techno-thrash in detail in some future post, somewhere.

05 - Abstrakt Algebra - Shadowplay

Speaking of direction-less '90s metal, here's a pleasant upset: Candlemass founder Leif Edling puts out a post-metal record in 1995 and it's great! The cover's worth looking at too, (especially if you fold it out). Back when this came out I didn't know what to make of it, I were as confused about the future of metal as everybody else. Romantic doom/death had happened, Black metal had happened, nothing new and as diligently romantic (as is the essence of metal) seemed to be ready to emerge so almost all of us pursued the precarious poisons of post-modernity... perhaps this was the future, you know?

Well, it wasn't, but there's a lot of '90s artifacts worth interest nonetheless. Looking back now it's easier to appreciate them because they're benign growths on the strange tree of Heavy Metal, but back then the possibility of them being wicked stems of the new was slightly more worrying.

"Taciturned teasers with tattooed tears
A play of shadows they give
A blindfolded sojourn from Shakespeare to Marx
Directions vague and obscene"

06 - Deathrow - Machinery

This is the absolute flagbearer of what is sometimes called techno-thrash (or less aptly, 'progressive thrash' or 'technical thrash' though my distinctions and reasoning on this will have to wait for a future playlist/essay). Germany, 1988, let's look at the lyrics.

"I am walking through the streets of my old town
Looking back on the days of my youth
There are factories in the fields where we used to play
Clouds of smoke hang in the sky and block out the sun

God bless this house, the car and the TV
Show us our idols in magazines
They build us prisons without any walls
Money rules we can't resist

Snakes of commercial TV
Decoy with their apples
False priests spit out their lies
Because God sells
If we don't pull ourselves out of this mud
Our children will have to pay for our sins

God bless this house, the car and the TV
Show us our idols in magazines
They build us prisons without any walls
Money rules we can't resist
We're just wheels in a great machinery"

I'm 26 years old, I was a little baby person back at 1988 but I remember having nightmares about nuclear bombs raining down on Europe just the same. It's kind of difficult to communicate why the combination of this austere music with that type of grounded social angst is so effective. If you haven't lived in a lesser country under the influence of the world's superpowers during a critical time such as the cold war it all probably sounds kind of funny to you. "Supermarkets sell us their shit, lol, supermarkets are our friends" you might be thinking and for all I know you might be correct. Anyway, Deathrow strike a nerve for me at least. For some synaesthetic understanding, listen at the end of the song how the lead melody tries futilely to escape the grinding gears of the rhythm guitars and drums. Listen how at the end the lockstep is absolutely suffocating.

07 - Socrates Drank the Conium - Breakdown

Well this is from 1973, Greece. I absolutely adore the record it belongs in. The lyric is pretty self-explanatory, but listen how the constant double guitar licks augment the already hectic 7/8 rhythm. "Too much smoke, too many people. Gotta get away, riding on the highway. Endless breakdown. Heavy Breakdown". Extremely effective piece, doesn't even need a Cold War to give it weight. I tend to view the 'On the Wings' record as an early precursor to stuff Psychotic Waltz would be doing 15 years later.

08 - Moahni Moahna - Tales of Xet Sof

My computer crashed while I was making the playlist so now you get the appropriate song to express this frustration. Here's the transcribed lyric,

"You only need to press this key, they said
So he did too bad, so sad, they gave him hell

Destructive instructions are easy to make
They are not constructive
Illusions, confusions breaking him down

What's the point in reading this book
Where's the one I trusted, he must die
Because he lied

Nothing happened whatsoever
Days were wasted, time was tight
Book of wisdom, none too clever
It's so wrong, but oh, so right

What's the point of reading this book

*customer support voice says something inaudible on right speaker*

Now he is older, trapped in a book
And he belongs there"

As you might have realized this is an epic Rainbow-esque song about Soft - Ware troubleshooting, a badly formatted manual, lying tech support and the inevitable fate of anyone who dabbles in computer science. Moahni Moahna are a band almost nobody knows about but they're hilarious and it's a shame. Radio's to blame.

09 - Psycho Symphony - Silent Fall

Well I wouldn't like to go into detail about how this Psycho Symphony song works because it's a headache and a half just listening to it, much less trying to scrutinize its various parts. I'll just say that it captures the emotion of feeling trapped in a dream, for me. All these unresolved melodies mirror the wild changes of pace and location in dreams and the foggy spatiality in them too. It takes real songcrafting skill to have phrases that are so everywhere and still hold it together and convey subtle emotions like Psycho Symphony do.

10 - Paralysis - Arctic Sleep

And this techno-thrash band from the Netherlands ties the whole thing off leaving us exactly where we started. Only now, much wiser.

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The Verlaines - Juvenilia (1987)

I'm posting this record because I've been obsessed with the long phrase that makes up the verse of the first song. That chord progression relentlessly forces all of my hairs to stand on end. If I can ever write a pop song that has a similar melodic effect, I will just pee in my own pants all day because that is all that there is left to do.

This is a collection of The Verlaines early EPs, and is chock-full of that good, nice, wonderful & catchy white-guy rock. Those Flying Nun white guys were really cranking it out in the 80s. Get obsessively into it.

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Lisa Gerrard - The Mirror Pool (1995)

All of my readers should already have all of Dead Can Dance's releases, so here's Lisa Gerrard's first solo album which really just sounds like another Dead Can Dance Record. My recent musical exploration has taken me to look into solo works of artists that I like (Paul Westerberg, Bob Mould, Brendan Perry, Lisa Gerrard, Sisqo, etc).

The melodic possibilities of harmonic minor and its modes are explored in fascinating detail here. The songs are less "song-like" than a lot of Dead Can Dance material and function more as melodic adventures over droning backgrounds. I wonder how much of this is improvised, and I wonder how many cues Lisa took from Kind of Blue and how many she took from Indian classical music. That said, shit still sounds medieval as fuck, so blast this Lisa Gerrard album and this youtube video simultaneously and enjoy the best that life has to offer.

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Demigod - The Slumber of Sullen Eyes (1992)

What makes this Scandinavian death metal release special is the darkness & murkiness that it shares with bands like Incantation & Immolation. Some of the melodic leads tend in a direction typical of Swedish death metal, but the dirges and mid-paced parts weigh the atmosphere down. For a perfect example of what I'm talking about, consider about four minutes into "Embrace the Darkness/Blood of the Punished." There is a nice melodic lead over a weird0 wobbly super low frownfest riff; love this juxtaposition of different sides of the death metal spectrum.

Demigod are willing to let a riff ride, which is a very admirable trait when riffs are good. This restraint is particularly admirable amongst riff-happy death metal bands. Phrases are often longer than the standard two measure melodic arc, and slight variations in percussion give motion. What a good way to write songs. Man although the one riff on the record that makes me go insane every time I hear it (the thirds with the backbeat about halfway through the title track) gets shorted a bit. Dang!

In conclusion, this Finnish band makes me think of sinking into a swamp more than any NOLA sludge ever has. A bog flows from my mouth, a bog flows from my mouth, a bog flows from my mouth.

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Guest Mix Volume 12 - Nick Donahue

Nick is really funny. Nick is good at drums. Nick loves music. We have long talks when I drop him off from band practice (we are in PAGAN YOUTH aka DIAPER together). Nick also plays in CANADIAN RIFLE and sometimes in CIVIC PROGRESS. This dude wrote a lot, so I'm only gonna write a little. You know what it is, load it down.

Hi, and welcome to Nix Mix. I put this together in the style of a CD sampler, the most enduring and provocative format for compiled music to date. If you like Wimbledon, please stick around. You're in for a treat! A lil' something about the music:

Some of these songs were prophetic at the time they were written. Consider the way Big Black's "Passing Complexion," from the 1986 album Atomizer, anticipated the way it would sound if the theme music for all twelve characters from Street Fighter II (a game released a full five years later) were layered and played simultaneously.

David Axelrod's 1970 album Earth Rot, where the selection here is from, is a lot like that song "God Hates the World" (adapted from the pre-Auto-Tune original version of the supergroup charity single "We Are the World") recorded by the Westboro Baptist Church a few years ago. It tries to get you squirmin' by making you feel like you're taking a bubble bath on a cloud, and then the cloud starts singing to you about how you're gonna die. The primary difference is that Axelrod's presumed god isn't the celestial embodiment of a far-right militia on a murderous rampage. Still, I think it could be played through massive, Jonestowny stereo equipment around the world and serve as the sonic nudge needed to make things feel really apocalyptic for half an hour.

Making a mix can be a mournful process. For instance, I'm crying right now. But seriously, folks...

I want to say something. Whether you're playing on clay, asphalt, grass, or carpet, inside or out, it remains true: there's nothing wrong with playing the game of life and ending up with "love." I hope these songs help you on that path. Game. Set. Match.

. Wipers - Taking Too Long
2. Skull Kontrol - Camouflage
3. Big Black - Passing Complexion
4. Minutemen - Paranoid Chant
5. Polvo - Feather of Forgiveness
6. The Rats - Defiance
7. Zomes - Petroglyphs
8. Louie Lasky - How You Want Your Rollin' Done
9. Willie Colon with Hector Lavoe - Que Lio
10. Ruby Andrews - You Made A Believer Out Of Me
11. Gal Costa - Cinema Olympia
12. Magazine - Cut-Out Shapes
13. David Axelrod - The Warning Talk (Part III)
14. Cold Sweat- Nightmare
15. The Fix - Cos The Elite
16. United Mutation - Final Solution
17. G.I.S.M. - ABC Weapons
18. Rudimentary Peni - Sonia
19. Born Against- Five Dollars An Hour
20. Condominium - Barricade
21. Billy Bao - Factory of Repression
22. Masta Ace, Inc. - Boom Bashin'
23. O.V. Wright - He's My Son (Just The Same)
24. Richard & Linda Thompson - The Calvary Cross
25. Geechie Wiley & Elvie Thomas - Last Kind Words Blues
26. The Breeders - Oh!

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International Harvester - Sov Gott Rose-Marie (1969)

This record starts out with an ominous theme stated amongst bird songs. Unlike much of the psychedelia of this era, the myth of a flower-coated noble savage does not exist here. Similarly, progress and refinement are rejected, and the dark side of nature is embraced.

A droning version of song structure is applied throughout and creates a hypnotic effect. A theme is repeated until it reaches atmospheric saturation and it begins to tickle ritualistic impulses. These are rich melodies filled with just the right amount of whimsical trippiness to mold your imagination into a beautiful, Stravinskian pagan scene.

And don't think for a second that just because there's a clarinet on one of the tracks that this is useless music dressed up with surface level "interestingness." Bizarre instrumentation and sound effects supplement textures and structures perfectly capable of standing on their own.

I would hesitate to draw too solid of a line between this release and the Norwegian black metal scene of the early 90s, but I will say that Scandinavians writing droney, minimalistic music that lashes out against modern civilization is one of my favorite things.

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This review originally appeared in Jettison Quarterly.

War Cry - Trilogy of Terror Demo (1983)

Metal celebrity Paul Speckmann's (of Master & Death Strike duh) early work. While his later bands recorded some of the best primitive riffing of all time, this is Sabbath worship at its finest. Chicago metal, represent represent.

Later doom bands can plod, but they are not this heavy because their songs are boring. Later stoner bands know the pentatonic scale, but that riff factory is about worn out. This demo deserves to be mentioned in the same breath as Saint Vitus & Trouble.

Also, I'm a connoisseur of "ooh"s, and the one at the beginning of "Wicked Warlock" is fucking phenomenal. Nice and drawn out. It's also cool because it sounds like dude is pushing down on his floating bridge while chugging, so the pitch keeps wavering. Happy accident or genius subtle touch? Either way: WICKED WARLOCK! OOH!

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Duke Ellington, Charles Mingus & Max Roach - Money Jungle (1962)

Recently, I've been making an effort to control the magnitude of the media consumption in my life by tying up loose ends. This means I've been finishing books, finishing series, and plowing through archives of unlistened-to music. I finished Twin Peaks & Ken Burns' Jazz in the last week. While that Ken Burns film is pretty annoying in a lot of ways, there is some excellent material in there, like this little gem which you may have seen if you are my friend on social networking behemoths Twitter & Facebook: When presented with the Medal of Freedom by President Richard Nixon, Ellington kissed Nixon four times. When the president asked why, Duke replied "one for each cheek."

Anyway, Money Jungle is an old favorite of mine. This recording is weird in a way that almost seems aggressive, but actually quickly settles into a feeling of "oh actually these guys are just way the fuck smarter than me." Listening to this thing is throwing off my internal equilibrium and I'm reeling around in my chair. Or maybe it's just weird allergy-related sinus pressure.

On the title track, Duke's piano trills and Mingus's bizarre bass slides and Roach's surprisingly hard-hitting drumming are legitimately unlike anything that I've ever heard. This is kind of like a Sun Ra record in that it exists entirely in its own musical paradigm. The theme to Wig Wise actually reminds me a lot of Thelonious Monk, with it's slightly off-kilter pacing and almost dissonant melody, with a playful-sounding resolution to the phrase.

I've been meaning to really dig into Duke's discography for awhile, and I'm gonna do that as soon as I've caught up on my "to listen to" folder. Life goals, man. Life goals.

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Guest Mix Vol 11 - Lauren Lorendewski

Hey look here, my friend Nora Liebenbowski is a genius geologist, and is really into death metal and Klaus Nomi. The above picture is of her living the dream at the Tibetan Plateau this last summer, which is probably cooler than anything that you and I will ever do. Read Ms. Lunarovski's paper here in several months when it is published. And hey, I recently got into The Lemonheads because people said my band sounds like them. Anyway, this mix is awesome. DEAD! YOUR GOD IS DEAD! FOOLS! YOUR GOD IS DEAD!.

I spend about nine months of the year sitting at a desk in Michigan nerding about things like plateaus and mountains. The other three months I attempt to fulfill the destiny of a girl raised in the suburbs by traveling, hiking, etc. As fucking brutal as modeling plate tectonics is, I sometimes have trouble working in front of a computer when there are so so so many cool rocks for me play with outdoors.

My mix is composed of the songs that help me get through my infinite work days-the ones that after a 12 hour date with my computer I realize I have listened to on repeat 3045834503485 times, mostly because they remind me of gratifying experiences anywhere but my office in Michigan. Actually, every day I just listen to the entire Bat Out of Hell album on repeat, but I thought people who didn’t get it might become bored with a pure Meatloaf mix:

Tracklist:

1. Talking Heads - This Must be the Place
2. Alkaline Trio - Nose Over Tail
3. Nick Drake - Place to Be
4. Screeching Weasel - I Wanna be a Homosexual
5. Descendents - Pervert
6. R Kelly - I'm a Flirt
7. The Smiths - Miserable Lie
8. The Temptations - Isn't She Pretty
9. Yo La Tengo - Center of Gravity
10. Billy Bragg - California Stars
11. Archers of Loaf - Fat
12. Lemonheads - Rockin Stroll
13. Morbid Angel - Chapel of Ghouls
14. New Order - The Village
15. The Wedding Present - All This and More
16. Bob Marley - Don't Ever Leave Me
17. Woob - Creek
18. The Misfits - Skulls
19. Gorguts - Obscura
20. Klaus Nomi - Cold Song

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The Zombies - The Lost Album (1969)

"I'll Call You Mine" is my favorite Zombies song. "Walking in the Sun" is also up there. It sounds like some bossa nova ass shit with the mournful brass playing somber melodies. So beautiful. "I Could Spend the Day" is quite a bit bluesier & heavier than standard Zombies fare, which actually works out really well in this case. And a bit more grit in Colin Blunstone's breathy voice is a welcome addition, if only to hear what it sounds like.

There is also a cool hokey "live" track with weird applause after each vocal part. Reminds me of Type O Negative's Origin of the Feces.

Fuck, I think "I'll Call You Mine" might actually be my favorite song. So what you should do is listen to these songs and feel extreme envy for The Zombies' song-writing brilliance and also the tone of Colin Blunstone's voice. Then, you can feel a bit better about yourself because some of these tracks are really weak.

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Note: It is my duty to recommend these videos on insulin resistance and metabolism. As someone who thinks about nutrition a lot, these have been impossibly valuable to me. So far I've watched twice to try to absorb everything, and I'll probably give another go 'round soon.

Moondog - Moondog (1956)

As seems to happen, I don't know, just about four times a year, a new issue of Jettison Quarterly is freely available for your internet reading enjoyment. Once again, my opinions on music are featured, as are conversations with Cutis Mann, Cody Hudson and Carrie Schneider, director Ky Dickens, author Joe Meno, Andy Butler of Hercules and Love Affair, designer Ra’mon Lawrence, and Ron Banks of The Dramatics. In celebration of this historic release, here are my thoughts on a Moondog record that appeared in a Jettison Quarterly of yore.

This record is well known for its idiosyncratic use of found-sound animal noises and baby cries, and its almost haphazard blending of genres and styles. These elements are, of course, essential to the feel of these recordings, as well as an important chapter in the inimitable legend of Moondog (a blind street musician clad in self-made, Thor-inspired garb). However, framing a discussion of this album in terms of its quirks fails to properly explain that the actual songs and melodies here are completely spell-binding. These microsongs state an idea and fill it out with bizarre percussion and found sounds. There is no room here for narrative and structuring ideas; these pieces exist as only as melody, texture, and slithering percussion. Moondog isolates melancholy through stark piano and violin melodies, and adds bubbling primal instincts through rolling, syncopated percussive arrangements. Sounds of frogs and passing cars whisper deep, important secrets of the nature of men trapped in modern society, but looking for more than civilization can offer.

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