Tag: alexander moskos
From the heatpeepers of Alexander Moskos:
Roollin’ uptee with Guy Les Lunettes (aka Michael Caffrey) and Beach Seat Black (aka Doominiq Alexander) aka the ROYAL HUZZLE CYPHER = PURPLE CAPE + HUSH PUPPIES x SLIME GREEN LACES + DOOM’s COTTON PORTI-TENT and MAROONBERRY BERET, though, laying in the cut tight, inside VADER aka Caffer’s 740 Swede Maheen Brick and natch’l blues DOOM is hipping the older gods (who need some hipping de temps en temps) on early NEW ROMANCE, even some proto-Ital-NEW ROMANCE (City, dude, try Googling that s/t lp -Dom) as well as some UK-Eighty-whatevers ish that sounds like basement ‘tronics with USA-70 loner-folk vox o’ertoops. Fit right into my new curiosity-style; Shaps be waking the grumps cuz the Wizard of Kozz is zonetoning early Simple Minds with only thin-walled St. Henri shipwright construction separating his nug and Jim Kerr’s not-so-ruff-hewn croon out the broown Tecnics, late.
If you’ve ever hit the weirdcan BBS message board archives you know I’ve lit Christmas with Wolfcow before, playbs. “No sheet, meeester”. So stoked was the kozzmoobowl when Greydyn reminded her that Tones had sold him a sweet German tropi-sco side, summertime, debt unpaid, now paid, the greenside of which went to Snaps, the 3” of NEW CANADIAN OLD ROMANCE went directly into me Wolf Coow section. Because romance ripens, rather have it grown and warmed than young-blood cooled. Wolfcow is romantic like Sibelius (the Finnish composer not the software) is Romantic, not in some uptoon-yoothman-croon-wrapped-in microkoorg-hooz-that-sounds-like-a-hoockey-bag-spray-painted-black-filled-with-black-hand-sanitizer sense.
These are no mere mild wonders; the songs here are stunners, or no, more like putting on stunners you bought for five zones in Kensington Market in order to shade your little ninja eyes from the huge shards of hot light that reflects off the salmon pink Royal Bank Tower at Bay and King, whose source is the two suns setting out across great Lake Ontario, glowing nuclear red on The Hammer, late-day pink on Goderich, motarded fuchsia on Oshawa, a glorious blown out gold on Caledon and, natürlich, or should I say natürlicht, an almost neon hue, nearly topaz in the far corners of the sky but decidedly hot amber and PURPLE on the GO Bus traced streets of Newmarket…And the crew salaciously awaits Wolfcow wax. Who’s stepping up? Greydyn’s hot light genius can’t be crammed onto 3” forever.
Ps: Contains guest vocalists. In the case of these cuts below, Dave Evans of the Soopcans and on the lush crooz-lit “Bad To The Rhinestone”, some randoo named Jon.
Pps: Mid-period CANTORRecs WCBBSMB record porn is SFW unless Fern Ledouce in the cubes next to you is deeply offended by Ikea shelves adorned with Albertan Folk-lones… find yourself in conflict resolution, Fern spinning his pen Chinese-math student style, the mediator rippin’ a Tims, you resolute with a MacDos free grip feelin the only way out is to ADMIT to your addiction, hell, when you log in as USERNAME: HEATPEEPER the desktop image is a seductively cropped close-up of a Swede Pressing of Bo Hansson’s “El-ahrairah” lp.
All contained within Osama: Bursts of chiming FM synth over guitar sprawl, tap dancing, percussion overdubs, odd spoken sections, sounds of bawling and whipping intercut with Sam in discussion with Leila Pourtavaf (2), blundering chug rock, a juxtaposed pastiche editing style, gorgeous vocal arrangements, Walter Benjamin quotes and a general head-scratcher of an approach. Anyone remember The Donkeys? (3)
The album’s title comes from Sam Shalabi’s given first name. Immediately post-9/11 Sam and the million other Osamas in the world found themselves sharing a name with a spectral presence invested with unspeakable evil, watching itself on TV.
In a statement on the Alien8 website, Sam says that Osama fails as a protest record about Arabophobia, and thank heavens for that; protest records as a genre tend to reek. There’s a minor RIO (4) vibe but I’d almost say Osama comes closer to the Temptations’ Sky’s The Limit (5) or, even further along, Metallica and Lou’s brilliant Lulu. Hell, there’s even the Mayor of Mile End Billy Mavreas (6) doing his best Doggerel Bank “Skillicorn Dances” (7) impersonation.
Anyhoots, if it were up to me they’d give this record the Polaris prize every year and one to Alien8 for straight trucking as well.
Oh, and “Do you have a mandate?”
Get it here: http://www.alien8recordings.com/releases/osama
(2) Formerly Montreal based activist and academic.
(3) Blundering steamroller rock quartet from Montreal. If I’m not mistaken they did release a record at some point in the early oughts.
(4) RIO stands for Rock in Opposition, a European music scene sprung up in the late ’70s whose riotously fun project was to mix dialectical materialism and chamber-prog. Henry Cow’s Legend is the go-to joint in this regard.
(5) The gorgeous 1972 album featuring the overtly heavy and political “Smiling Faces” among others. Pretty much immaculately made mainstream music via Berry Gordy and the crew and of course featuring our man “Detroit” Coffee in full buzzin’ axe effect.
(6) Comic artist, shop owner, gallerist. He walks along St. Viateur and old ladies come running on out into the street to give him pieces of perfectly ripened fruit like he was some kind of Greek Corleone.
(7) The Doggerel Bank was a British “psychedelic funny” band. The Skillicorn Dances lp on The Famous Charisma Label isn’t impossible to find in a cheap-0 bin.
- Live in Yonge-Dundas Square
- [Director: Brian Seeger]
- Toronto, ON
Addendum: If you’re not jamming WITH the King, then you’re jamming FOR the King, so might as well get with his majesty’s Lute-through-too-much-Line-6-style and call it a deep, mind-melded, madrigal, there Troubadour!
(1) (Mark Maclean) Of the Sick Lipstick, Black Cat 13, Thrashed Genes and Induced Labour, but who recently chose Life and gave up on the permanent death-fetish that is rock n roll, ostie.
(2) (Brian Seeger) Of the Planet Smashers, Pon D’Replay, Wasted Nymph
(4) (John Shapiro) Of Induced Labour, Conspiracy of Familiar Objects, 13 Moons, Almost Blue Sunshine, producer of the John Milner 7” on Pleasance… also runs LsdOTB records, one of the few labels to actually release an Afternoon Penis joint, remembers record shopping on Yonge St. in those Palaeolithic times, secret side doors to the Lion at College and Adelaide, long nights at the Bagel and the first great gig of 2005 as if it had been fried and served just now, Chuck Schuldiner briefly joined Slaughter for a few months and was seen straggling around York Mills for some reason, how the Jerks and Suicide played the Horseshoe, Major Street days, long-night living room gig scenes and onwards.
(5) Wintage, the non-internet-presence label, has released countless amazing underground titles. Recent zones have included releases by Thurston Moore, field recordings of a Japanese couple fucking, Knurl, Nihilist Spasm Band and Six Heads, the former three on wax! The former three are all stone-cold Canadian classics.
(6) (Gas Station Studio on Toronto Island) Of Diner is Ruined, possibly even the Rheostatics. Recorded plenty of records in his day, including sides by Gord Downie, Julie Doiron, the Woodchoppers Union and the second GYBE! record ect ect. The Diner is Ruined blew my adolescent mind bee tee double you, when they opened for Helium and Sonic Youth at the Warehouse circa 1995.
(7) Reminds me of my submitted piece on Black Sabbath’s “Never Say Die” for Weird Canada’s Departures Revisited, the draft of which came back to me defaced, in Levin’s hand, by a giant MAPL system logo with only the “P” blackened.
- Carlyle Williams
- Gotta Go For It!
- (Eternal Art & Music)
- Montréal, QC
- Originally Released: 1988
Forgotten in the usual fetishizing of the “filles du roi” cypher (1), beyond bloodlines French-royal and First Nation, is that Montreal’s women posses the ultimate sexy quality: good taste. And so it went that Leila Majeri (2) and Marie-Douce St. Jacques (3) played me Gotta Go For It! and on each separate occasion, my mind split open, the air charged, everything changed, and the damn crew hasn’t been the same since.
Released in 1988 and recorded at the Unidisc studios (4) in Montreal’s St. Henri neighbourhood, Gotta Go For It!’s qualities are many: blocky Chung King Studios drum programming, a careening non-chops guitar style that sounds like The Birthday Party minus the fireworks-display fay hairdos, and streams of vocal overdubs that make whomever Tim Buckley thought he was on Starsailor seem like a sane and well adjusted man. Some tracks have a synthetic tropical vibe that predicates the various fi’s (5) of the last half-decade like a boss, raising bloody hell in the listener’s mind, forcing one to reconsider every aesthetic category.
For all its sonic density and deistic power, Carlyle’s message, via truly inspiring vocal work, is positive: obsessive self-awareness and accompanying self-criticism can be reality forming, that the more you look INSIDE the more you will see. That, as he says on “No Reason”, “There is no reason for your next depression. And that’s the truth.” Which as an underlying vibe makes Gotta Go For It! unique amongst the great works of 20th century Canadian art.
Gotta Go For It!’s sleeve states: “The more you look – The more you see”, and like all amazing ass records, the more you listen, the more you hear.
(2) Screen printer extraordinaire, often using the nick Alphonze Raymond, and also the drummer in the amazing Yomul Yuk.
(3) Editor-in-chief of the awesome aMAZEzine, which lasted a few issues, came with a GYBE! 7” and generally covered a zone, Marie-Douce was also the Farfisa player and vocalist in Pas Chic Chic! I sat down with her to discuss this piece.
(4) Obviously, as the ’80s wore on and disco, particularly the French-Canadian kind, receded in popularity, Unidisc fell on hard times and started renting out their facilities cheap. They were based in the RCA building, who obviously were slowing down themselves.
(5) Lo, no, slow, glow, hi and high fidelities, be it Ariel Pink, Spencer Clark, James Ferraro and the rest, you can hear Carlyle in the faux madness. The incredible Afternoon Penis tape on Heavy Tapes is the most obvious student of Gotta Go For It!, however. Worth looking into for fans of Carlyle.
- AIDS Wolf
- Tournée Banale Avant-Garde 5
- [Dir. By: AIDS Wolf]
- (European Tour 2011)
- The Gift of Money b/w The Night She Became Me
- (American Tapes)
- Montreal, QC
- Brian Damage
- Early Electronic Works (1983-1988)
- (Self Released)
- Sydney, NS
- Originally Released: 2009
- Michael Snow
- Music For Piano, Whistling, Microphone and Tape
- (Chatham Square Productions)
- Toronto, ON
- Originally Released: 1972
(1) I remember buying a Well-tuned Piano booted CD-R set for an exorbitant price in those halcyon days.
(2) Snow’s structural films are considered some of Canada’s great works of 20th century avant-garde, albeit slow moving ones. Also, Snow managed to sue Eaton’s