Posts Tagged ‘Guru Guru Brain’

Khana Bierbood

For their latest, Guru Guru Brain reaches outside of their bubble in the belly of Japanese psych to pick up newcomers from Thailand, Khana Bierbood. Their debut album, produced by Kikagaku Moyo’s Go Kurosawa, takes its cues from the faded aesthetics of scavenged record finds from the ‘60s and ‘70s. The band mixes lite splashes of psychedelia with traditional Thai nods and packs them up with a healthy dose of surf – spreading barrel roll twang all over this record in liberal helpings. They’re able to wield the beach vibes at speeds of simmer and sweat. On “Starshine” the twang just delicately licks at the feet of the song, giving a bit of motion to soft ocean breezes and the baked in comfort of the sun. As the needle clicks to the next track, though, they’re bending the strings for maximum surf mania, feeling like the song dives into the heart of the curl and leaves the listener to soak in the adrenaline of human vs. nature.

Like the rest of the Guru Guru roster, the band’s amping up Western psych pastiche, adding a new layer of interest via an injection of traditional rhythms and textures from their own past. Though, the band (and producer) seem to embrace the past wholesale here, giving not only the cover a touch of the ‘60s aesthetic, but running the whole thing through a layer of adhesive and dirt to give put that faraway sound on top of the band’s psych. Occasionally the grist filter can distract from the band’s crispy surf splatter. The effect could maybe be used on an intro and outro base to give the platter the same time-shifted sense. Still, Khana Bierbood prove to be consummate purveyors of fuzz-toasted twang regardless of how crisp it lands. The record is a worthy addition to GGB’s spotless roster.



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Scattered Purgatory

For a band from Taiwan, Scattered Purgatory owe an awful huge debt to Germany. Their latest, Sua-Hiam-Zun, is forged from the same clouded waters that sprang Popul Vuh, Ash Ra Temple and Cluster. The album works with atmosphere as its medium, building tension through a massive cavern of sound that feels as if its sprung up slowly on all sides. The listener is trapped in glacial ice and moved with an inching dread towards fates unknown. The duo seems to merely take the German Progressives as a jump off, however, working their systems into festering, humming dystopian dreamscapes that remain anxious despite limited moving parts.

Synths growl like the bellows of huge furnaces, hot and dry with the arid stink of smelted metal. Those remain the bedrock of Sua-Hiam-Zun, but are often shrouded in a layer of fog that seems unbreakable, as if it stretches clear to the highest reaches of the album’s choked atmosphere. The real movement is contained to clattering and clanging percussive notes that seem to act as the inhabitants of Scattered Purgatory’s universe. Needless to say, that universe has no apparent love for itself – a negative space that’s full of life trapped under glass.

Scattered Purgatory takes aim at both doom and drone on this album and wind up finding the best of both. The widescreen drones, of course, do nothing to relax the mind as the band continues to punch the anxiety centers of our brains at each leaden moment, but the cinematic grandeur also comes with a feeling of strange imprisonment that’s harder and harder to resist as the album progresses. We see the end coming and are almost powerless to stop it, dragged down by dread and fear and perhaps hopelessness, but in its absolute domination of the horizon, the end seems almost breathtaking to behold through Scattered Purgatory’s eyes.




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J. William Parker – “Tigers In The Glass Room”

Guru Guru Brain quietly slips out news of J. William Parker’s debut. The Hanoi songwriter is a complete unknown that came into the attention of the label with these cracked and quiet home recordings fulling in tact. The songs bristle with the kind of vitality that befit some of the best private presses of the ’70s. “Tigers In The Glass Room” is a warm, present burst of strum, distorted by the limitations of Parker’s setup, but the cracks only add to the intensity of the track. The label’s not so far off base in giving the record accolades of bringing to mind Ted Lucas and the quality reminds me of a favorite from a few years back from B.R. Garm. There’s an intense loner vibe here, that feels like the music is a cry in the night. Its not a cry for help though, maybe just a cry for companionship or just a cry to be heard. Either way, its sounding like a great bit of fractured folk.



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