Posts Tagged ‘Choogle’

Wet Tuna

When Wet Tuna first unspooled their debut last year, they tapped into a primitive blues soup dipped strait from the swamp. It’s a humid, boiled record that folds one song into another with barely time to swipe the sweat before each groove subsumes the next. The band was built on the stage and they brought the deep zone groove nexus into the studio with surprising success. On the follow-up they still keep the cosmic tapestry intact, but they’ve begun to thread a few new strands into the tattered tap as well. The record is still living on midnight fuel, formed from their own admitted tendency to let the substances settle for a few hours until the balance is right and the clock slips past the uprights into the pre-dawn hours.

They channel this time-slip pseudo-seance onto a two-inch proof of purchase – a haunted haven of dank grooves to get lost in and vaporized boogie that cures the soul. Matt and Pat have boundless roots in the psychedelic pantheon, but collectively this is probably one of their most pure and primal discs. Water Weird is the cosmos captured, the burnt mind made good and projected through three layers of psychic meniscus into the ever after. Water Weird is the night made manifest and given flight over the horizon of infinite ink. There’s something ineffable, intangible, and alchemical about Wet Tuna and it all comes to a head with Water Weird. If this isn’t sitting atop your year end, then I’ve got some serious questions about priorities to discuss with you.

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Gong Gong Gong

Beijing duo Gong Gong Gong root their songs in a minimalist blues that incorporates traditional Chinese structures, but come out feeling like desolate, havok-wreaked tunes for the coming collapse. There’s tension at every corner of Phantom Rhythm and the pair aim it at the listener in waves of dustbowl devastation. With only two players (guitar and bass) it seems like they couldn’t keep the propulsion kicking with the kind of intensity they court for a whole album, but with the guitars scratching away a galloped gait and the bass fuzzing at the seams, the songs are breathless and biting. They leave room for nuance, though. While they always seem to wind up at a stomping gallop by the time the tracks close, along the way they prove themselves limber players who can snake through any musical opening.

On the slightly pedal-paced “Moonshadows” there’s still an urgency, but the band also finds themselves slinking through the shadows, quiet on their feet but keeping their hearts thudding hard in their chest as they weave through the wilds of rhythm. The fuzz if forever hungry in the heart of Phantom Rhythm and bassist Joshua Frank often lets his instrument act as the radical element in their dynamic, vaulting off of guitarist Tom Ng’s steady strut a low-end howl through the caverns of the mind. Though they’re packed into a Bo Diddly swagger sack on the surface, the record updates the folk-blues model for a thornier, more furious world. This is sweat-lodge high-vision choogle, a groove that slices between past and future. The future ate the past and only the dry scrape of Gong Gong Gong hangs ominously in the distance.

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Garcia Peoples “One Step Behind (Single Edit)”

It would be disingenuous to say that Garcia Peoples rise over the past year has been anything short of impressive. Following their sophomore LP for Beyond Beyond is Beyond in February they’ve become staples of the live circuit in NYC (a quick dig through or NYC Taper will confirm their prowess in the room). They’ve opened a slew of dates with Chris Forsyth and Kurt Vile, fleshed out their sound with the help of new permanent member Pat Gubler (Wet Tuna, P.G. Six), cut a lightning crack studio session with Hans Chew, and now they’re onto their second album of the year. Some might think the second helping would leave the band wanting for material, but it’s a goddamned smorgasbord at the Garcia’s house and we’re all invited. Taking their improvisational prowess from the stage to the reels, the band is issuing a 32-minute epoch of a title track that brings Guitarist Tom Malach’s father, Bob on board for a deep dive through space jazz that upends everything you’d expect going into a new Peoples record.

Diving deeper into the mercurial depths than they ever have before, the band eschews their usual groove to get lost in a bit of the cosmic wilds for a patch. Malach, the elder, used to knock down sessions with everyone from Miles Davis to Arto Lindsay to Stevie Wonder so this is no nepotism knockout, this is a familial team-up for the ages. Ah-ah, but you’re gonna have to wait until the full platter’s out of the oven to hear Bob’s double overdubbed sax goodness. Right here is the radio edit, a line closer to what they’ve been playing live for the track. Heard this the other night when they opened for KV and it hit just as hard — the band workin’ up their own “Playing in the Band’ alchemy. They sync up in full symbiosis, playing off of one another with the veracity of players with twice as many trips ‘round the sun and its a delight to watch.

The band’s Danny Arakaki peels back the curtain on One Step Behind’s origins. “We had a great time recording this track,” grins Arakaki. “Many highlights involved. One being, Tom’s dad, Bob Malach, coming to the studio to lay down the sax tracks (which you’ll hear later on the full-length album version of the song) and after killing it, casually saying, “fooled em’ again.” Great to see Tom and his dad work together. Every time we make the trip out to Black Dirt Studio we end up finding new sounds too. That has everything to do with the way Jason (Meagher) works with us. Positive vibes all around. Enjoy the changes and ride the tune.” The record lands October 18th on Beyond Beyond is Beyond. Best be ready.

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