VOTD 05/12/2025

 Brown Angel: Promisemaker (Sleeping Giant Glossolalia)

Purchased new, mail order direct from label

Some disclosures: I've played with this band. I'm even thanked in the liner notes. And now that I'm reading more closely, it seems that I appear on this album. How about that. Explanation to come. 

I will also point out that on a few occasions, the person or band I'm writing about reads my comments. Thankfully I don't think I've written anything especially dumb or trite on those occasions. 

It came as a surprise when my Facebook feed informed me there was a new Brown Angel album. Bandleader Adam MacGregor has been in and out of the US for some years now; his wife is in the State Department. I think he's back in Mumbai now. During his most US stay, Brown Angel played a few gigs with a new bassist. 

Well, it seems as though most of the recording dates to 2018-2019. My contribution came a later, but I can't recall exactly how long ago. I'm credited as playing contrabass clarinet, but actually it was bass clarinet. Honestly, I had to relisten to the track ("Who Wants a Dreamer?", the opener) to even detect my contribution. I think I'm heard briefly towards the end of the cut, but I would have never known it without being told. Adam had gotten in touch with me about recording some noisy bass clarinet, which I was happy to do. He never told me for what purpose, so now I guess I know.

Mark this down as another single contribution to an album project, something I seem to be doing recently. Greg Hoy, Spotlights, Microwaves (on a previous record, and the upcoming one as well), and Brown Angel previously. I could get used to that. Several of those were recorded at home using my own equipment. 

Brown Angel got some mileage out of being dubbed "Pittsburgh's Most Depressing Band" (well earned, I would add). There's no speed metal to be sure, but not everything on this is a slow grinder. What I guess is the second half of "It Was Hard (Piteous Trench)" is more driving, but not necessarily any less bleak. 

You have to have real dedication to maintain such a dark vision. (Though as I wrote that I thought, you need to have dedication to be a musician period.) And it might not come as a surprise that Adam and drummer John Roman are perfectly lovely, (as far as I can tell) well-adjusted people. (I don't know original bassist Mike Rensland as well, though I did say hello to him at John's recent wedding.) Adam is a great hang, funny, smart, enjoys spinning a good story. I look forward to those times he's stateside. 

I recalled, when writing about an earlier MacGregor band Creation Is Crucifixion, that Adam had said their intention was to be completely unlistenable. Well, how do you critically react to a band has that intention? Brown Angel is a dark, menacing band, and they succeed in that respect. Production sounds good here, though as you might expect, the guitars are pretty much up front. James Plotkin (Khanate0 mastered the sessions, which I'm sure added to the clarity. 

One complaint: guys, if I'm on this, maybe tell me it was coming out?

VOTD 05/06/2025

Tom Waits: Swordfishtrombones (Island)

This was a duplicate promo copy I scored from WRCT at the time of its release

One of the many reasons I started writing to this blog was to give purpose to my listening. Listen, and write my thoughts. I've amassed a substantial collection of CDs and vinyl LPs; nowhere nearly as large some I know, but large nonetheless. So given this field of possible choices, what do I choose?

To help myself in this respect, I created a Max (Max/MSP/Jitter) file to limit my choices. Max is the closest I've come to programming. I mean, it's programming of a sort. As my friend and world-renowned computer scientist Roger Dannenberg once said, "Max is audio programming for people who don't want to learn how to program." Sold! What might have been intended as a put-down is a selling point. In addition to to creating practical effects and instruments for use in Ableton Live, I created a patch (the word for the file) to calculate my grading for one of my classes. 

I set up a system to randomize a letter choice and format. Single letters didn't fair; T shouldn't have as much of chance as V. Letters are grouped together. For format, I chose CD (X2), vinyl (X2) and "other". I'd also give myself leniency with respect to first and last names, and new purchases take precedence. 

It's not a total Cage indeterminate action, just limiting my choices. 

First roll: W X Y Z, vinyl. I had meant to put on this Tom Waits record recently, so easy choice.

I remember when this LP rolled into WRCT in 1983. It was surprising. I've liked Tom Waits for as long as I've been aware of him, but it was clear this album was a shift in direction for him. Immediately on track one ("Underground") it sounded like he was shifting away from his more cabaret-ish roots towards something more Captain Beefheart-like. The bass marimba, the spiky guitar, the space, suggested Ed Marimba and Zoot Horn Rollo from the Magic Band.

Listening to it now, maybe I don't think it's as radical a departure as I once did. But the Beefheart influence is definitely present, and I think Tom has said so himself. In subsequent albums, he'd increase the emphasis on atmosphere. If he wanted the drums to sound like cardboard boxes, well, play cardboard boxes. The closing track briefly uses glass harmonica(!). More, I say!

The songs are compact, seven on side one, eight on side two. Some are particularly memorable: the aforementioned opening cut, the lovely "Johnsburg, Illinois" followed by the hard hitting "16 Shells From a Thirty-Ought Six". I'm not generally one to react to lyrics, but I laughed out loud at a lyric in "Frank's Wild Years": "...he hung his wild years on a nail that he drove through his wife's forehead." 

A couple of my friends have recorded with Tom, some years after this record. One of them told me that the strange thing meeting Tom was how normal everything was. His home is (or was, I don't know) in Sausalito. Kids were playing in the yard. Everything was very matter-of-fact. 

I recently bought Tom's Orphans: Brawlers, Bawlers, and Bastards. His album of leftovers is great, better than most people's first run material. 

VOTD 05/05/2025

 Sorcery: Stunt Rock OST (Moving Image Entertainment)

Purchased used at Rosie's Records

I know I've written about my use of this forum before: music commentary, a small amount of analysis and musicology, and autobiography. Well, I'm going the latter for a few paragraphs, so indulge me. 

I turned in my notice at Carnegie Mellon last Friday. I'd been working there for twenty years. A few people, most notably my wife, knew in advance, but mostly I've stayed quiet about it. It's not a secret now, but I haven't been oversharing on something like Facebook. (Yet.)

The fundamental truth has been: I've been unhappy in the job. Some of is the nature of the position. The majority of my job was teaching a 101-level music technology to anyone: majors, non-majors, even staff. A graduate music major could be sitting next to a sophomore engineering student with no musical experience at all. And it was a mini-course, half a semester in length, fourteen sections in an academic year. I was simply weary of it. 

There are other factors, but little else I care to write publicly. I did start to feel frustrated that I wasn't teaching to my particular skills and experience, at least directly. Being part time adjunct faculty, there wasn't the opportunity to create new courses as I wished. Early after I was hired I had an idea for a course/ensemble/seminar in which we'd study and rehearse various existing repertoire involving improvisation, aleatoric and indeterminate techniques; discuss the similarities and differences; develop new works based on those experiences; ultimately perform publicly. An expansion of some of the things I did with my high school avant-garde ensemble, CAPA Antithesis. It didn't take long for me to figure out there wasn't much of a lane for me to create new ensembles and courses as I wished. Just adding a second section of an in-demand course was a laborious task that took nearly a month of convincing the right people.

None of this is intended as a criticism of the institution. It's just the nature of the job. I feel like I was a workhorse for the school, that they got value for the buck from me. I would be shocked if the next person lasts twenty years. They'll probably hire a recent graduate with a shiny new PHD who will last five years.

Okay, that's starting to sound cynical. I don't really know that.

My wife has been calling it my retirement; I've called it quitting my job. I'm not retired, the real work continues. With luck and determination, maybe more than before. But whatever you call it, yes, I'm now retired from CMU. And looking for musical opportunities.

Thank for indulging me that.

This record...

I'd never heard of the movie Stunt Rock before seeing a trailer collection on Tubi assembled by Alamo Drafthouse. I haven't seen the complete film yet, but the trash film fan in me definitely wants to view it. From what I'm reading online, it's part fiction/mockumentary (1978, years before Spinal Tap), part stunt demonstration, part concert film. I guess Sorcery was a real LA band, kind of a predecessor to the Van Halen and later hair metal scene. You can hear their influences pretty directly: some Deep Purple, a bit of Blue Öyster Cult and Judas Priest, and definitely some Black Sabbath. The latter is pretty obvious with songs like "Wizard's Council", "Mark of the Beast" and "Talking to the Devil". 

They're not bad. A little silly maybe, they're not that far from Spinal Tap. But you can hear some pre-Van Halen in here too. The vocals seem to be mixed a bit high, though maybe the convention of burying the voice under the guitar sound became more conventional later. I find the singer to be just okay, but then most singers irritate me. 

I think I need to see the film!

The reissue from 2000 comes weirdly as a two LP set: standard black vinyl edition, and a second version of the same as a picture disc. Considering the cover is pretty bad looking (and the same on front and back), this seems like a silly move. I listened to the black edition, which was clear and well pressed. I've found picture discs to often be very noisy in the past. 

I don't know that I'm going to keep at this blog as regularly as when I started, but I do intend to keep at it more regularly than I have been. 

VOTD 04/25/2025

 Pere Ubu: Terminal Tower, An Archival Collection (Twin Tone)

Given to me by my friend Mark

I once read that Pere Ubu's David Thomas made (or tried to make) a bet with DEVO who would hit the top 40 first.

It's ridiculous that either of the two bands would ever chart, but of course DEVO had a surprise hit with "Whip It". While outwardly more weird than Pere Ubu, DEVO was more theatrical and obviously tongue-in-cheek. And well, catchier, more of a pop sensibility. Plus they managed to get themselves onto Saturday Night Live. And they were savvy with respect to early music videos. They were naturally the more multimedia of the two groups. 

But what was Pere Ubu by comparison? Darker, more of a garage band but with the strange, warbly vocals of Thomas, and by their second 7" pushed into stranger territory by Allen Ravenstine's homemade modular synthesizers. 

This LP collects their early singles, which amazingly date back to 1975(!), essentially pre-punk rock. From Ohio. Ohio! What the hell was going on in Ohio in that era? Maybe it was the chemicals dumped into the Cuyahoga. Or more likely...the Kent State shooting. People who were attending Kent State during the shooting, if not present at the shooting itself: Mark and Gerald from DEVO, Joe Walsh, Chrissie Hynde, and Chris Butler from Tin Huey/The Waitresses. Did this add a sense of urgency to the region? Or am I attaching meaning to an ultimately meaningless incident? 

I recommend you seek out Derf Backderf's graphic novel Kent State: Four Dead in Ohio. Be warned: you're either going to wind up in tears or hair-tearingly angry at the government, or both. Derf himself was a kid (about my age) when it happened near his home. Oh, AND he attended high school with Jeffrey Dahmer, which he depicts in his graphic novel My Friend Dahmer.

Ohio now is considered the the central moderate/conservative heartland of America. When you start to consider the above, Ohio seems like a far more bizarre place in general, though maybe that's the US in general.

I was born in Akron. Read into that as you will. My father was from Sandusky and attended Kent State.

The record. It traces the development of Ubu as a kind of pre-punk, proto-metal Peter Laughner-led ensemble to a lighter, more surreal sound. Fewer power chords, more space, more vocals, more modular synth. Pre-LP, to The Modern Dance, onto Dub Housing, onto New Picnic Time and Songs of the Bailing Man. Dub Housing is my favorite. It's memorable, but also a straight-forward rock band pulled into alien territory. 

I went to see whoever Pere Ubu was at the Club Cafe, I don't know, 7-8 years ago? David was the only original member.* They were touring on the repertoire of the original Ubu recordings, the Hearthen Records singles (the original singles here) and the first two LPs. David sat the entire time, bottle of wine nearby. He walked offstage at one point, frustrated, but returned. People loved it. The band sounded great, by the way. 

I talked with Tom Moran while I was there. Tom was the guitarist for The Five, arguably the best band from Pittsburgh to emerge from the punk scene.** I'd had little interaction with Tom previously, but we knew who each other was, and we live in the same neighborhood. He told me how Larence Goodby played him Pere Ubu's The Modern Dance and that they declared, "We want to be this band!" and The Five was initiated. I can see the influence, once he mentioned it. 

Ubu didn't play everything off this album, most significantly lacking "Final Solution". In retrospect it's an unfortunate title for a song about teen angst, was Thomas himself would note. Too bad, it's a good song.

This album works as a document of the development of Pere Ubu in its initial years.  As such, you hear how the sound changes with the changes in personnel. In other words, it's a great document but not a cohesive album statement. 

My friend Mark saw David Thomas perform in the late 80s, bought this LP from him, and had him sign it. David asked, "What do you want? A dog, a dinosaur?" Mark asked for a dinosaur. David's scribbling image looks like just that, a scribble. He gave it to me later. 

David Thomas died this week at 71. I would have guessed older. I was once mistaken for David, the account of which you can read on my Facebook page. Sorry you're gone David; if there's an afterlife, I hope you're happy. "It's just a joke, man!"

* It has occurred to me that I've seen at least three bands with only a single original member: Pere Ubu, Yes, and most recently Kraftwerk. If I think of others, I'll write about it

** Tom said to me, "We heard Pere Ubu and we wanted to be that band. Then we moved to Boston and we wanted to be Aerosmith!"

VOTD 04/18/2025

 Maury Coles: Maury Coles' Solo Saxophone Record (Onari)

Purchased at Jerry's Records

Who's Maury Coles? No clue! (And no intention at the moment of Wikipediaizing him.) But a solo saxophone record, used at Jerry's, on a Canadian label, from the 1970s, sounds like a win/win/win/win to me. 

I've considered releasing a solo saxophone album myself, which I guess I should just do and stop thinking about. Something limited run, maybe a custom lathe-cut printing in a small number. Just do it already, Ben.

As Mike Shanley has pointed out, solo saxophone albums are often a catalog of so-called extended techniques, all the "other" sounds the saxophone can produce besides standard notes and pitches. There's a hazard to that: is it just showing off the weird sounds you can make? At the same time, you can say it's all part of the vocabulary of the instrument: every whine, wheeze, fart, squeak, squeal, split tone, is part of the instrument as much as the "notes." Of all the solo saxophone recordings I have, it's Roscoe Mitchell's that is curiously the most traditionally "notey", blowing solo on melodies of his creation. 

Maury finds a place in the middle: sometimes melodic, sometimes playing on the sonic potential of the alto saxophone. Notably, this was recorded Nov. 5 1977 at the Music Gallery than none other than John Oswald himself. I still have a cassette of John's solo saxophone playing, which is some of the most extreme that I've heard. 

This is the only alum that comes up under Maury's name, with just four other credits on other people's sessions. Seems like a shame, the solo album is worthy of a listen. 

VOTD 04/17/2025

 Andrew Lloyd Webber: Requiem (Angel)

Purchased (sealed) at the Jerry's Records dollar sale

Steve Lacy once said: never listen to bad music. If you're at a concert and it's bad, walk out. 

So why the hell am I listening to an Andrew Lloyd Webber record?

Partially it's been my interest in requiems (requia?) in past couple of years, and curiosity about how he would do it. I think it's also healthy to sometimes try to analyze why you don't like something. It's not enough to say "it sucks" but to understand what is it that you don't like. Maybe it's the inherent educator in me. I always wrote off Wendy Carlos' Switched On Bach as being kitsch; in some ways I still do. But I started to study the album more closely, and found characteristics to appreciate. The Moog patch development is pretty amazing at times. The performances are all pre-MIDI overdubbed tracks, which makes the playing impressive. It's not as simple as, "this is silly." 

So we find ALW in a serious mood here, his "serious" music. Can't fault a guy for trying. I'm listening to this without reading up on it, what circumstances led to this work. I assume it was a commission, but if it wasn't? Good for him to working on it. There's an all-star cast: Placido Domingo (whose name is conspicuously top billing), Sarah Brightman (I guess she was married to ALW at the time) and Lorin Maazel (from Pittsburgh!). 

What of the music? I find moments that I enjoy, when ALW goes briefly polychordal or major 9ths (but never full-out atonal). It's generally quite conservative major/minor composing, but I expected nothing else. I'd say it's no less daring than your average Broadway musical really. 

There's an organist credited, James Lancelot. I don't know, it seems too...obvious? Churchy music involving an organ?

Maybe I'm saying, the music offers few surprises except for a few unexpected harmonies. It's darker at the start, uplifting at the end, much as you'd expect. It's impeccably performed, but that's what money will get you. 

This cost me a dollar, so curiosity satisfied, cheap. 

VOTD 04/15/2025

 Goblin: The Other Hell soundtrack (Cinevox)

Purchased at Eides, new

I've written in the past that I know this blog is some degree of music commentary and sometimes analysis, some history, but also there's an autobiographical component too. I suppose if you should happen to find me interesting, that's fine. 

I've been putting a lot of things on hold until the university semester ends. It's felt like a weight on me but my teaching schedule is done at the end of next week, unusually early. Despite this, I've found time to at least accept gigs, do a couple of at-home punch-in recordings for other people, and occasionally check in here. And of course do things I generally enjoys such as dropping by the library and various record stores.

I didn't make a big rush for Record Story Day, even if I bought three things released that day. I've previously written the other two. I had the highest hope for this one, while at the same time wondering about the nature of it. Goblin was responsible for some exceptional soundtrack work: Suspiria, Deep Red, the European cut of Dawn of the Dead. So why hadn't this soundtrack turned up before? I don't profess to be a Goblin expert but a solid work from the early 80s would be in demand for release, seemed to me. 

Reading into it now, I see this is made up of cues and outtakes from other films: Buio Omega, Patrick, and  Il Fantastico Viaggio del Bagarozzo Mark. Thankfully I have none of those on vinyl (I've seen the first two around) so all the music is new to me. I noticed while watching the laughable Contamination that the soundtrack credited to Goblin was at least in part lifted from Dawn of the Dead. I can't point a finger at the Italians for cost-cutting moves, since it's thoroughly part of the American tradition of exploitation filmmaking as well. 

What sets Suspiria apart from the others is its intensity and atmosphere. It's bigger, louder, creepier, noisier. Dawn has a real drive to it to be sure, but Suspiria feels like an experience. The music here is solid late 70s instrumental prog rock veering slightly into fusion territory, sometimes sounding a little like the Bruford band circa One of a Kind (sans Allan Holdsworth).

I don't often comment on this, but the pressing (at least on side one) is terrible. There's a general noise to the vinyl which isn't so noticeable when the music is turned up, but takes over on fade outs and between cuts. Ugh. Do better! Maybe it didn't need to be fuchsia-colored vinyl. And with such great examples of original cover art on Mondo/Death Waltz and Waxworks soundtrack labels, the cover here looks slapdash. Sounds like trying to earn that RSD coin to me, even if the music itself is pretty good.