Woolen Men

Portland’s Woolen Men have already stung 2015 with a great LP released on Woodsist, but it seems they had more to give. Self-released as a cassette, Options gathers up six more cuts that lean on the band’s love of smashing 90’s grunge into propulsive post-punk. The tape is brief but from the outset the collection hits hard with the band finding a way to roll their sound in some gravel via opener, “Curtain,” then wiping down the speakers for a run through taut guitar territory. They cool for a bit on “Scarlet” before closing out the EP with a trio of muscular indie romps. The band is at home in the live setting, running through the Northwest’s DIY show scene in a regular rotation but with releases like this and the previous Temporary Monument they’re proving that their recorded output is just as enticing as the live experience.

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The Silence – “Ancient Wind Pt. 3”

Masaki Batoh’s The Silence sneaks in another album before the end of the year and its a fuller and more raucous outing than their self-titled debut earlier in 2015. The album is anchored by the massive three part piece “Ancient Wind” and they’ve just shared a video for the song that pretty much paints the visual they were going for on the psych-folk cycle. Swirling kaleidoscopic visuals that flash in epileptic warning to the song’s frantic mix of percussive thump and flute solos that will probably give your dad full on Tull flashbacks. Its a pretty decent way to spend six minutes.



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Cornered Yet Climbing feat. Kelly Jayne Jones

Whew, now comes that time of year when its time to scrabble through the missed connections on the review list and this one comes out pretty high near the top. A re-invigoration of Pascal Nichols and David McLean’s Cornered Yet Climbing collaboration, this time with the help of Nichols’ partner in Part Wild Horses Man on Both Sides. The output here is a broken daydream of free jazz, wandering from mournful howl to full bite in the space of mere minutes. Adding to the flashing fangs of McLean’s sax are Jones’ ephemeral field recordings and flute, which weave through the clattering sonic tapestry set down by her two collaborators expertly. Her flute especially treads between ceremonial tribalism and folk serenity without ever making either style feel worn. The expanded trio finds its footing easily and though the length of these pieces is pretty heavy, bordering on intensely lengthy, the whole record plays as such an engrossing backdrop that its hard not to get sucked into the players’ world rather than see it as a necessarily surmountable listen. The record is expertly anchored by Nichols’ craggy, fluid drumming and his skill at finding the inroads in these pieces to drive pace and add texture is fairly unmatched this year. This is one to beat in the noise/free category and along with that Heroin in Tahiti release, this is a good year for the edges.

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Sad Horse

Ah Mississippi, the avid archaeologists of our time, though they’re usually knee deep in gospel cassettes, African guitar debris or Dead Moon discographies, sometimes they’re also knocking a flashlight on the overlooked records of this current time as well. Swinging their gaze on their hometown’s own Sad Horse, they cobble together a collection of tracks from the band’s first couple of tapes and CD-rs for tiny labels like Eggy, Supermegacorporation and Water Wing. The retrospective bounces through a ton of material, but the relative length of a Sad Horse tune, combined with their intensity, makes it fly by pretty quick. The duo are no frills. As in none whatsoever. The songs are banged out in dry recorded spats that feel thick with the dust of warehouse floors and screamed from the Id. Complexity this ain’t and that’s a damn good thing, sometimes you need to bang the shit out of a kit, strangle the strings and lose control. The band have been a Portland secret for way to long and its a welcomed relief that Mississippi have chronicled their output.

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Best of 2015


Its been a long year at RSTB and though the pace may have been slower on the face, there has been lots going on to be sure. Next year marks our 10 year anniversary and we’ll have a new look shortly, so stay tuned. There will also some other fun things to mark the anniversary as 2016 wears on. But enough of the future, let’s look to the past. Here are my favorites of 2015, as usual in no particular order, along with a mix of tracks.

Blank Realm – Illegals In Heaven (BUY)
Dick Diver – Melbourne, Florida (BUY)
Colleen Green – I Want To Grow Up (BUY)
Young Guv – Ripe For Love (BUY)
Sir Richard Bishop – Tangier Sessions (BUY)
King Gizzard and the Lizard Wizard – Paper Mâché Dream Balloon (BUY)
Wand – Golem (BUY) // 1000 Days (BUY)
Thee Oh Sees – Mutilator Defeated At Last (BUY)
Ben Chatwin – The Sleeper Awakes (BUY)
Mikal Cronin – MCIII (BUY)
Twerps – Range Anxiety (BUY)
Future Punx – This Is Post-Wave (BUY)
Sean McCann – Ten Impressions for Piano and Strings (BUY)
The Mantles – All Odds End (BUY)
Barreracudas – Can Do Easy (BUY)
Peacers – Peacers (BUY)
Love Axe – South Dakota (BUY)
Jefre Cantu-Ledesma – A Year With 13 Moons (BUY)
Fuzz – II (BUY)
Sauna Youth – Distractions (BUY)
Unknown Mortal Orchestra – Multi-Love (BUY)
Swiftumz – Everybody Loves Chris (BUY)
Rabit – Communion (BUY)
Holly Herndon – Platform (BUY)
Herbcraft – Wot Oz (BUY)


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Juventud Juché – “En Tu Casa”

Inspired by our discovery of some of Portugal’s great new punk bands, we’ve been digging in on their neighbors from Spain. This new video for Madrid’s Juventud Juché provides a glitchy, dark backdrop to the band’s bracing brand of post-punk. Gnarled and pulsing, the track is the b-side to a single the band put out earlier in the year for Spanish indie Sonido Muchacho and both are just one more reason to keep your eyes on the Spanish/Portugese underground.


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Odd Hope

Bay Area musician Tim Tinderholt serves up a debut single for Fruits & Flowers, currently one of our favorite destinations for band’s you should be checking into. The a-side is a chilled piece of folk, all grey skies and winter reserve. Then the flip takes a step out into the sunshine. The label’s assessment that this could have popped up on Creation is well deserved (though Sarah Records is an equal contender). Banging around through Razorcuts b-sides or Sneetches EPs, it seems likely that you might run aground on a copy of Odd Hope’s “I’ll Follow You Soon”. This is definitely a gem in an already stellar catalog for the SF label.

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Invisible Astro Healing Rhythm Quartet

First things first, that’s a hell of a handle. You go and name yourselves something that indebted to the ethos of space jazz and you better damn well cut close to the veins Bitches Brew or have a standing ticket on the Arkestra’s spaceship. For the most part, IAHRQ seem to be chasing that same chrysalis down a rabbit hole of groove and syrupy psych-funk that informs the stretched minds of those 70’s experimenters. Mind you they’re following in some deep footsteps and while maybe not widening the ruts too much from where their forbears may tread, they know how to play to their strengths and take listeners on the journey. They inject a certain amount of African funk to the mix as well, though they dull the edge away from some of the more jagged sounds of the Sahara with a bubble of lysergic energy that just taps at the glass of that continent’s influence but never opens the cage wide. 2 dips out of a heavy groove on the opener, “Praise One,” to lay back into some mellow, almost strummy vibes on “Praise Two” They hit on Blacksploitation funk and soundtrack skronk before laying way back into the ether groove to close it out. This is patently not what I’d expect out of Trouble In Mind, but that’s becoming a good thing about the garage homestead. They’ve begun to follow their passions and though its no longer a cohesive sound coming from their ranks, they seem to know that the best labels take you where you need to go and you just have to trust that they’ve got ears big enough to find it all.

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Pega Monstro

Pretty hard not to love this one, it’s a simple setup, just guitars and drums, two sisters throwing energy back and forth in a chaotic mix of distortion, sticks and sweat. The Portuguese duo play straight from the gnarled heart of punk and though there’s a real shine of pop trying to peek its head out from the clouds of dust and debris, the fury in Alfarroba reigns supreme. There’s a kind of running through the streets in summer, unfettered smash of the pit, fists in the air energy to Pega Monstro and that feeling becomes palpable over the course of this record. You want to have fun because they’re having fun, and records that spread smiles like colds in a kindergarten are few and far between, so I say grab one when you hear it. The band revolves around their own DIY scene in Lisbon, borne out of the sisters’ own Cafetra Records, from which they borrow some help in the form of friend and producer Leonardo Bindilatti of Cafetra’s Putas Bebadas. Though London’s Upset The Rhythm heralds the release here, long since purveyors of good taste. All in all, I can think of very few reasons this one shouldn’t be hitting your turntable as soon as possible.

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Mystic Braves

Mystic Braves return with another album and though they’re branching out into trappings of their aesthetic (sitars and mellotron, oh my) they’re still very much in tune with their inner 60’s nerds and make no allusions otherwise. Days of Yesteryear as a title doesn’t pussyfoot, that’s pretty much exactly what they’re going for and succeed at channeling a heady mash of Byrds, 13th Floor Elevators and ? and the Mysterians that feels like looking at a well stocked record shelf through a kaleidoscope. What the band lacks in fresh perspective, they make up for in fun, fuzz solos and exuberant hooks. There are plenty these days who see fit to keep the Joshua Light Show in work and this one will fit nicely on the shelf next to the Allah-las, Shivas and Paperhead records in your collection.

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