let's begin again: Bedhead - WhatFunLifeWas

So it's been a while since I've posted anything new.

Life has intruded, ebbs and flows, but eventually settles down.

What also helps is discovering new music. Not new as in released-last-week, but new as in "why haven't I heard this before, and why is this NOT in my record collection?!?" music. Such as it is with today's feature, a record that 5 days ago I was completely unaware of and had no musical knowledge of. Oh I knew it existed, as an entry in a discography kind of way, but nothing more than that.



You see... I've been on a Kadane brothers blitz off and on for the past several months. Starting with their current project The New Year and working my way backwards, I've been discovering the utter musical genius that is the Texan brothers Matt and Bubba Kadane and the jawdroppingly-beautiful music they create.

I'm not so familiar with the brothers' backstory so I won't go into much detail (because I don't know it!), but starting in 1992 Matt and Bubba Kadane (both guitarists) began releasing records as Bedhead, and when that band ended in 1998 later formed The New Year - which is still active.

I really haven't a clue where to begin describing Bedhead, but today's record - Bedhead's debut LP from 1994 - sounds as if Slowdive raided J Mascis' guitar collection, added some Louisville, KY math rock to the blender, and threw away the effects pedals. It's perhaps the best shoegaze record I've ever heard, but it's not shoegaze. It's perhaps the best slowcore record I've ever heard, but it's not slowcore. It's not post-rock but they could post-rock Tortoise to the end. It's not math rock, it's not punk rock, but it's all those.

Where has this record been and why hasn't it been in my collection for the past 16 years?

Take the second track here "Haywire". The guitars are straight out of the 1990-1992 UK Midlands shoegaze scene, but the ending is completely and utterly mindblowing. The song sounds like it was recorded live to two-track (which wouldn't surprise me at all) which makes the record even more impressive, considering what they're able to do with the simple three guitars, bass and drums formula.

For a quick hit intro to Bedhead just check out "Bedside Table" - a track that gently glides along on lovely intertwined guitars, and ends in a chaotic fury that had to have been AMAZING live.

I'll stop now because I'm too busy swooning to "Crushing".

BEDHEAD
WhatFunLifeWas
1994 Trance Syndicate



01 Liferaft
02 Haywire
03 Bedside Table
04 The Unpredictable Landlord
05 Crushing
06 Unfinished
07 Powder
08 Foaming Love
09 To The Ground
10 Living Well
11 Wind Down

edit: Removed link.

indie postpunk pre-postrock: BITCH MAGNET

There have been three bands, or rather, two basic bands and another band that evolved from one of the basic bands, that I haven't been able to stop listening to for the past week or so.

So why not blog one of them? This week's particular band was on my future "I should probably blog these guys" list, but as is the case with most of my postings, bands move up and down the schedule - or are completely unplanned until I sit down to write the entry - with reckless abandon.



So, seeing as how last week we featured Slint, this week I chose one of Slint's compatriot bands, the North Carolina (by way of Oberlin College, Ohio) postrock pseudohardcore proto-math-rock combo Bitch Magnet. Slint and Bitch Magnet are related by band interbreeding, if you will: Slint's root band Squirrel Bait bequeathed Slint's Brian McMahan and Britt Walford, and that same band also bequeathed free agent guitarist David Grubbs, who played with Bitch Magnet for a duration.

But besides a terrific appreciation for dynamics, that's about the end of the similarities (though Slint's Tweez can be a good starting comparison point with Bitch Magnet in terms of dynamics, and raw sound). While a fan of Bitch Magnet will probably also enjoy Slint, fans of Slint's later material (i.e. Spiderland) may not appreciate the getting-away-from-hardcore basics underlying Bitch Magnet.

And besides, Bitch Magnet featured one of the BEST drummers ever in the annals of 1980s/1990s indierock, Orestes Delatorre (aka Orestes Morfin). The only comparison I can think of for Orestes's amazing drumming is Scratch Acid and Rapeman drummer Rey Washam - widely thought of as one of the greatest indierock drummers EVER. Orestes is absolutely up there with Rey: one of the best drummers I've ever heard, and criminally underrated amongst those who should know better (Pitchfork, I'm looking at you). There are transcendent moments all over the place with Orestes's drumming, touches such as the recurring "ting ting ting ting" of his bell-like ride cymbal slay me every time.

The only consistent Bitch Magnet members were Sooyoung Park (vocals, bass), Jon Fine (guitars), and Orestes (drums). Guitarist David Galt joined the band for their first full-length - 1989's Umber, and David Grubbs played on one track on 1990's Ben Hur. Galt did not play on Ben Hur.

Bitch Magnet's oeuvre was rather limited, with mainstream releases consisting of just a brief EP (1988's Star Booty) and the two previously-mentioned full-length albums. The band also released a few 7" and 12" singles, but those are VERY hard to find and I personally have never heard them.

Bitch Magnet broke up for unknown reasons following Ben Hur, with members going on to found Seam (Sooyoung Park), remaining in Bastro (David Grubbs), or disappear from the scene entirely (Orestes - though he did join Minnesota's Walt Mink for a brief spell in the mid 90s).

Star Booty, their 1988 debut EP, was engineered (or only mixed, the Internets are not clear on the details) by Steve Albini and I have to be honest here: it's really crap sounding. I wonder if the record label screwed something up in the mastering for release, because I'm really surprised such product passed Albini's legendary no-bullshit quality control. Granted I've not heard this on original vinyl, only the CD version - it's entirely possible the vinyl version sounds spectacular ;) The music is OK - I do like the proto-Seam melodicism of "Sea of Pearls", and "Hatpins" is a nice blast of 1980s hardcore, but overall this EP isn't what made me a Bitch Magnet fan. The songs eventually blur into a samey miasma that, while noisy, does seem lacking. (This EP was appended to the CD release of the following LP by their record label.)

Umber, the band's 1989 LP produced by Mike McMackin, is what made me a fan. I simply love this record. From wigout opener "Motor" to the understated beauty of the closer "Americruiser", the full 10-song set grabs you by the proverbial balls and never lets go. I hear audio references to Big Black and Scratch Acid (Austin, TX mid-1980s punk and Jesus Lizard ancestor) all over the place. "Navajo Ace" is a BLISTERING punk workout with some utterly jaw-dropping drumming courtesy Orestes. The languid soft/loud/soft dynamic beauty of "Clay" - another proto-Seam track - leads nicely into the very-Scratch Acid "Joan of Arc". Then we get an amazing quieter number "Douglas Leader", the first 2:30 or so consisting only of Sooyoung's gently-melodic bass and spoke/sung vocals. Orestes comes in with a nice touch in restrained drums, and finally we hear guitars washing over the track with icy-cold feedback. A standout. Then we have a few more brilliant post-punk mini-epics in a row, all with amazing drums and noisy guitars, and finally bring matters to a close with the stunningly beautiful "Americruiser". I can listen to this song on repeat all day, the gentle verses leading into the swelling choruses is so Seam-like it's ridiculous (and wonderful). And I have no idea what Sooyoung's vocals are about, though the musical phrase from his last vocal "sure could use a good place to sleep" leading into the overwhelming chorus of guitars and drums is spectacular. Yeah it sounds like Slint - but remember, this was before Slint's own take on this same style.

Overall rating? Almost 10 fucking stars.

1990 saw the band add Bastro's David Grubbs to replace the departing David Galt for one track (after touring with the band in 1989), and released the swan song LP Ben Hur (track 2 recorded by Howie Gano; tracks 4 and 8 recorded by McMackin; and tracks 1, 3, 5 and 7 by "Arden Geist" - which I suspect to be an Albini pseudonym, because 1) there is zero biographical, or anything for that matter, information on "Arden Geist" on the Internet besides mention of these particular BM tracks, and 2) the tracks bear every single hallmark of an Albini recording). While more a refinement of, than a dizzying progression from, the sound established with Umber, Ben Hur shows the band increasingly exploring a more textured side of their music: "Dragoon" is a nearly 10-minute epic beginning with feedback-laden guitar and Orestes' simple ride cymbal tings, before exploding into a melody-laced all-out assault of guitars, frenzied drumming and barely-audible spoken word vocals. "Valmead" (featuring a pseudonymous Grubbs as "Shannon Doughton") and "Gator" are instrumentals, "Valmead" exploring dissonance while "Gator" returns to Umber's pummelling in-your-face guitar and drum workouts. "Mesentery" is brilliant, while "Ducks and Drakes" and the amazing, beautiful closing track "Crescent" foreshadow Sooyoung's future Seam project: in fact "Crescent" could easily fit on either of Seam's first two LPs and nobody would bat an eye.

Overall rating? Not quite as strong as Umber, so almost 8 fucking stars. I wish the band explored more of the Seam/Slint textures they explored briefly on Umber, and touched on a bit here, and there are no absolute stunners (to me) on this record (as opposed to Umber, which features several), but this is still a fine, fine record the likes of which is almost never seen today.

I present all three records described above, slightly remastered for your listening pleasure, in glorious lossless FLAC. I really attempted to fix up Star Booty but essentially it's helpless, someone needs to revisit that from the original master reel.

- - - - -

BITCH MAGNET Essentials
remastered from redbook CD by thepowerofindependenttrucking.blogspot.com

- - - - -

STAR BOOTY (1988, Communion Records)
Recorded by - or only mixed by, it's unclear - Steve Albini



01 Carnation
02 C Word
03 Sea of Pearls
04 Hatpins
05 Knucklehead
06 Circle K
07 Polio
08 Cantaloupe

- - - - -

UMBER (1989, Communion Records)
Recorded by Mike McMackin



01 Motor
02 Navajo Ace
03 Clay
04 Joan of Arc
05 Douglas Leader
06 Goat-Legged Country God
07 Big Pining
08 Joyless Street
09 Punch and Judy
10 Americruiser

- - - - -

BEN HUR (1990, Communion Records)
1/3/5/7 recorded by "Arden Geist" (Albini)
2 recorded by Howie Gano
4/8 recorded by Mike McMackin



01 Dragoon
02 Valmead
03 Ducks and Drakes
04 Mesentery
05 Lookin' At The Devil
06 Gator
07 Spite y Malice
08 Crescent

- - - - -

edit #2: removed link.  Watch for official deluxe reissues!

edit: some factual updates thanks to Fred in the comments...

enjoy!

life-changing records: SLINT

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math rock: Rodan

On a trip this past weekend to faraway shores (of Chicago), the question was posited: What the hell is "math rock"? And why doesn't my local record shop have a "Math Rock" section?

Rather than go on some long-winded treatise on what makes a math rock band so mathematically mathy, one can basically point a finger at Louisville, KY circa 1989-1993 and there you go. Why Louisville? Ask the legendary Slint, the main proto-math act that also happened to call Louisville their home. For some reason kids in the late 80s/early 90s took the pummeling Chicago sound of Big Black, Naked Raygun and their ilk, matched it with Sonic Youth and 1970s Prog Rock (Yes, King Crimson, etc.), and fashioned their own unique take on indie rock. With precisely mapped out songs that start and stop on a dime, switch time signatures with abandon, and have carefully-laid-out angular, interwoven guitars sitting meshed with sometimes spoken, sometimes screamed vocals, the classic math rock acts carved out their own little niche that - with the notable exception of Slint - received little attention from the rock world at large.

And it basically happened in Louisville.

Slint begat, well, just pop over to Wikipedia for the family tree.

During the mid-Slintocene age, in 1992, Rodan formed. They released a record and promptly broke up, before they reached critical mass (as some thought was just around the corner). They too begat a family tree that needs parchment scrolls to map out - each baby carving out the next ring on the math rock tree.



And so today we begin our lesson plan with Rodan's only LP, 1994's Rusty. Named after recording engineer Bob "Rusty" Weston, bassist in Shellac and legendary engineer that follows the same ethos as Steve Albini, this record is Math Rock 101. Starting with the beautiful - and I mean that in the classical sense, as in "stunning beauty" - leadoff track "Bible Silver Corner", just when you've settled in for a nice late-night listening session, a dry red wine in hand, you get pummeled with the hardcore of "Shiner". Then things fly off the deep end with the uncategorizable, epic sprawling of "The Everyday World Of Bodies" at which point you're hooked for life. "Jungle Jim" brings it back down to earth a bit, but then angular-guitars itself into Tweezland (ref: Slint's debut LP Tweez). "Gauge" is a nice summation of things to this point, with "Tooth Fairy Retribution Manifesto" closing things out on a stellar note.

On a sad note, Rodan guitarist Jason Noble is laid up recovering from a very rare form of cancer, having just had surgery. I tried looking for a link to a donations area but failed to locate one - however there is this page which has some options to donate in Jason's name (as well as an area to follow his recovery).

So, with wishes streaming to Jason for a speedy recovery, let's enjoy Rusty.


RODAN Rusty
(1994, Quarterstick Records)



01 Bible Silver Corner
o2 Shiner
03 The Everyday World of Bodies
04 Jungle Jim
05 Gauge
06 Tooth Fairy Retribution Manifesto

one zip file for you to enjoy!