January 31, 2005

Ben McOsker got into the business of running a label on a whim and now, after more than ten years of operation, Load Records has become one of the preeminent names in noise music. By signing acts like Lightning Bolt, Sightings and Noxagt, McOsker has expanded the notions of noise and helped bring numerous Providence bands to the ears of discerning listeners. Stylus asked Ben to pick a few tracks or albums that he’d been enjoying lately and he responded with a number of possibilities. This is part two of his picks…

Excepter– Vacation, [KA]

I had the curious opportunity to be in New York when Excepter played. The whole show kinda proceeded like a hallucination. Four seemingly unrelated people weave a drug rug of sound that really defines the culture of psyche music beyond the beards of portly record nerds and paisley shirts. On record they combine the Tubby/Scientist effects setup with some other-wordly whispers that massage the cocyx column lovingly. As others have said, this is a thoroughly hard to pin down outfit. Sounds like water. Can’t describe why I like, just that I like. A critical copout? Just another bowl of vanilla ice cream? Just the chemistry that is unpredictable futurecasts. The reasons for Throbbing Gristle’s fascination with Martin Denny are only becoming clear now. And I come from a town that tried to reheat the sound with the “cocktail revolution” of Combustible Edison in the early 90’s. Yes, plenty of time to think about it. Thankfully I don’t have to dress up or talk like I’m at Hefner’s mansion.

[visit Excepter’s website here, buy KA here, read Ryan Hardy’s Stylus review here]

Fat Worm of Error– Feelin’ Fine, [Seven Inch 7”]

Western Massachusetts is a curious land of shopping outlets, farmers, geodesic domes, and tofu factories. This troop of musicians looks like a Macy’s Day parade float on Thanksgiving morning. The sound is thoroughly scattered, with tape loopy stuff hitting un-guitar sounds head-on. You can get all misty eyed about the glory and freedom of the 2000 floor rock scene, or you can teleport to the Flywheel tonite and see some thoroughly lubricated Bill of Rights action from these founding fathers (and mothers). Sometimes I can see the relationship they had to the early 90’s Nuf Sed/Deerhoof axis (looking past the former member’s of thing) sonically; sometimes I say just say shut up and watch the show.

[visit Fat Worm of Error’s website here]

Loop– Fade Out, [Fade Out]

I know I’m busting out all the oldies with this shit, but this band has some awesome smoke ring hoppin’ moves. Unfairly looped in with the whole Spaceman 3, Soup Dragons shoegazer set of the late-80’s, they instead worshipped at the altar of the repeato-riff of Gore and Suicide mixed in for flavor. Of their records, I like most of ‘em, but think Fade Out is the stone cold classic of the bunch. That they eventually folded in to the whole Godflesh/leftfield 90’s Earchache axis makes much sense. My dream is that all rock bands would sound like electronic bands and all electronic bands sound like rock bands. Please don’t make Daft Punk the standards bearer of this paradigm however.

[visit Loop’s website here, buy Fade Out here]

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January 28, 2005

Despite the slew of new albums properly releases this past week and the additional number of anticipated records that have leaked via mp3, it’s hard not to get excited about all the high-profile items available for perusal. I haven’t really cared that much, though. I’ve been listening to these:

Sarah Goldfarb– Sweet Sensation, [Selection 3]

The lead song on the new Selection mix by Triple R, “Sweet Sensation” is exactly what you want in an opener: it’s cool, calm, collected and sets the stage properly for what promises to be a strong mix of microhouse. Oh. And it’s voiced by label head Triple R. The one thing that gets to me is the bell synth pounding out a ridiculously effective melody throughout its length. Unadorned, functional, and oddly affecting, it gets you in the right mood for the ride to come. Much like the last mix that Triple R put out of Trapez’s highlights, it’s a ride definitely worth taking.

[visit the Trapez website here, buy Trapez releases here]

Ghengis Jimmy– Sonofachippa

Ghengis Jimmy is the pseudonym of everyman James Plotkin, who is also known for his time in the early 90s grindcore scene. As you can hear, it’s not grindcore. What it is, is the most interesting hardcore track on a compilation I bought a few months ago entitled Strictly For The Hardcore. Most of the other tracks on the comp are straight-ahead gabba tinged redundancies. Plotkin, however, adds a bit of depth, surprises, and a sense that Digital Hardcore was pretty much DOA.

[read a bio of Plotkin here, buy Strictly For The Hardcore here]

Barbara Morgenstern– Aus Heiterem Himmel (Dntel Mix)

Monika isn’t one of my favorite record labels by a long shot, but Barbara Morgenstern is my favorite artist on the label by that same margin. Luckily, they’ve given her a song on the label’s newest comp, entitled Monika Force. I’ve also always felt that Dntel works best with voices, for the most part. Luckily everyone lives up to my own unreasonable expectations here and this comes off like a lost B-side for the ages.

[visit Monika’s website here, buy Monika Force here]

Todd Burns | 8:00 am | Comments (1)

January 27, 2005

Michael F. Gill– Romance Drones

The inspirations for this mix were the recent singles “Cosmic Sandwich” and “Odyssey” by Steve Barnes, which showcase a new and interesting tangent on the basic micro/electro-house template. It was an epic, sprawling sound that combined the romantic melancholy of Michael Mayer’s “Immer” with a heavy psychedelic bent that engulfs you through a series of visceral repetition, trippy vocals, and wandering stratospheric synths. I’ve picked tracks here that complement this sound, and sequenced them in such a fashion that the music becomes more open and extroverted as time passes. Hence, things begin with the misty noir-ish glimmers of Anders ilar, move through the brisk druggy bliss of Ewan Pearson’s Closer Musik remix, and end up with some Italo/Metro Area influenced tracks by Jersey Devil Social Club and Justus Kohncke. This being the internet and not the club, I’ve taken the time to do some re-edits of the tracks in order to emphasize the themes of the mix. I hope you enjoy it.

01. Anders ilar - Treasure Gardens (Echocord)
02. Lucien-N-Luciano - Lilou Swan (Klang Elektronik)
03. Lawrence - Live At 37 (Dial)
04. M.I.A. - Ballad II (Substatic)
05. Nathan Fake - The Sky Was Pink [James Holden Remix] (Border Community)
06. John Foxx - Mr. No (New Religion)
07. Steve Barnes & Riley Reinhold - Odyssey (My Best Friend Limited)
08. Closer Musik - One Two Three (No Gravity) [Ewan Pearson Mix] (Out of the Loop)
09. Steve Barnes & Riley Reinhold - Memories (My Best Friend Limited)
10. Steve Barnes - Cosmic Sandwich [Extended Version] (My Best Friend Limited)
11. Geiger - Standing In A Line (Firm)
12. Kaos featuring Captain Comatose - Bang The Box (K7)
13.George Thomson - Laid Back Snack Attack [Ellen Allien Via Mix] (Crosstown Rebels)
14. Jersey Devil Social Club – Magnifique [Health Club Dub] (Environ)
15. Justus Kohncke - Elan (Kompakt)
16. Annie - Heartbeat [Alan Braxe Remix] (679)

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January 26, 2005

Chris Dahlen is a freelance writer for Pitchforkmedia.com, the Boston Phoenix, Signal to Noise, Paste, and The Wire (New Hampshire). His website is Save The Robot.

Choo Choo La Rouge– The Kind of Noise You Can’t Turn Down, [I’ll Be Out All Night]

Although Choo Choo La Rouge’s debut is rightly pegged as “intelligent indie pop,” thanks to the smart (though not horn-rimmed) lyrics and the grower hooks, this track which ends the record packs a deeper whallop: where frontman Vincent Scorziello has the indie pop trait of rarely letting down his guard, on this song his voice gapes in drawn-out, melodic ache, pretty on the first listen and downright enthralling by the fourth. This recently shushed a crowd at the Middle East when they opened for the Wrens, and when one guy at the front let out a whoop, Scorziello took a second to thank him - but you could tell he was still feeling the song.

[visit Choo Choo La Rouge’s website here, buy I’ll Be Out All Night here]

Milo Jones– Sandro and the French Guy, [Sassy Trax]

For a long time my favorite singer-songwriter in Boston, Milo sings ballads so sincerely that he can sell sentimentality without the need to wink; and the undercurrent of perversity - his last album, Sassy Trax includes a back-cover photo of Jones in the altogether, rendered in 3-D no less - only strengthens the romance. Although I almost posted his cover of Bobby Russell’s immortally schlocky “Honey,” this love song song, which Jones penned for his latest record, demonstrates his drawling sweetness as compellingly as anything he’s recorded.

[visit Milo Jones’ website here, buy Sassy Trax here]

Plasmids & Phages– Golden Age of Bacteriology, [Plasmids & Phages]

It’s time to wake up again with this cut from Portsmouth, NH skronk-jazz duo Plasmids & Phages. For such a small town, Portsmouth has an aggressive Providence-style noise scene, and Jeremy LeClair and Nate Horton of Plasmids & Phages form part of its core. On this, a short track from their self-titled debut, LeClair runs his sax through pedals and distortion to hammer against Horton’s drums, making a harshly electric, pummelling rhythm that leaves giant spaces for chaos. I’ve enjoyed catching these guys in multiple combos around town, especially at the Tong music night, which was held in the basement of a local barbeque restaurant. The “:51 Second Song Night,” where bands got on stage to play for exactly 51 seconds a piece (the results were recorded for radio ads), was the coolest experimental concert I caught last year. Who knew a town this small could draw this kind of stuff?

[e-mail Jeremy or Nate from the band for further information]

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January 25, 2005

The first glimpses of Daft Punk are out and it’s strangely appropriate as a freaked-out club video. The movie shows so little that it’s a strangely satisfying introduction—appearing like a voyeur into a club that we all have yet to see, but are expecting to sometime soon (often referred to, *as the future*). The mystique is building for the album while its doggedly chatted up on the message boards and in the broadsheets (Simon Reynolds talking about Daft Punk, *cough*, I mean Current Dance Music, at the time of my writing). Here is the essence of viral-marketing with little glimpses of the spectacle forming. But, sticking to what I got, I’m going to base my entry today on the genius of “Robot Rock.”

Bruce Haack– School For Robots

“Here is your robot music / Do not rest until you can move to it”

With Haack pounding on his chest with a little reverb, it’s hard not to hear some of the fascination with creating robot voices (and robot dances) that he shares with Daft Punk. But Haack is teaching a more explicit lesson. Like a drill instructor gone haywire, Haack understands we’re all robots and addresses the lesson accordingly. Taken from Haack’s Wayout Record for Children (recorded in 1968), I can only dream of an alternate universe that Donna Haraway listened to Haack growing up.

The ingenius tweaking of robot voices are pretty crucial, and “Robot Rock”’s lyrics are so embedded into the riff that it only becomes apparent how unified the song is by the 3rd or 4th listen. And the song’s joke plays directly off the album’s name, Human After All, and is beginning to look as tongue-in-cheek as Haack’s “When you hear this sound (*BBBBLEEP*) move one leg.”

[visit Haack’s website here, buy Haack material from Forced Exposure here]

The Mountain Goats– The Sign (Chicago Feb 20, 2004)

Although I’m only a recent “convert” to the holy ‘Goats, John Darnielle has still been Last Plane to Jakarta for me. I have a lot of friends who’d daydream about being Darnielle’s groupie and I really can’t blame them after hearing “The Sign.”

“…And I said I gotta play that song / I done never played that song / I gotta play it / There’s something that rings with every-BODY / I gotta a new life / You’d hardly recognize me, I’m so glad…”

The song’s loose conversational tone with the crowd giggling and cheering him on, reminds me how incredibly different Boards of Canada’s bootlegs can be from their studio versions. Rambling along, Darnielle plays into the immediacy that is amplified with the audience, materializing just how direct performer and listener can be—like Ian Mather’s last week post of David Byrne’s live performance of “Once in a Lifetime.”


Eurodisco transformed back into the 4/4 kick-drum choruses, one memorable riff, and I’m not sure if I really ask for anything else. While Daft Punk is going human, well, so is Ace of Base (as formed by John Barryman, Jenny Joker, Lynn and Buddha).

[visit The Mountain Goats’ website here, buy Mountain Goats material from Forced Exposure here]

Jason Forrest– 10 Amazing Years

Played against the four-minute mark into Jason Forrest’s “10 Amazing Years” and in the flurry of the drum solo, Daft Punk’s straight-faced introduction makes Forrest sound prog next to Daft Punk’s relentless one-riff cock-rock. Even the though the tweaking “10 Amazing Years” might be the bombastic ending to The Unrelenting Songs of the 1979 Post Disco Crash, it still plays nicely off the first glimpses of Human After All. In terms of imbibing rock into electronic music, Forrest sounds scatter-brained to Daft Punk’s single-mindedness.

I’d also like to point out the anxiousness that supposedly disappeared because of these types of music leaks seems something like a joke. The leak of “Robot Rock” is like exploitation film promoters trudging through the towns a week before their movie stops by to rile up the crowds.

Consider me riled.

[visit Jason Forrest’s website here, buy Jason Forrest material from Forced Exposure here]

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January 24, 2005

Salim Nourallah has performed, in most cases, with his brother, Faris, but last year he released his first record under his own name. Stylus writer Gentry Boeckel said that “An artist is not only as good as his influences, but is only as good as himself. And Salim is doing just fine.” Which isn’t to mention his work in the band Happiness Factor either. We asked Salim to let us what he’s been listening to lately…

Isidore– Refused on Temple St.

I picked up the Isidore record a couple of weeks ago. Although I haven’t been blown away by much of anything that Steve Kilbey has done in the last ten years, this record has some great moments. Especially “Refused on Temple St.,” which is just about as cool a song as Kilbey’s ever done solo or in the church. Isidore is a two man collaboration between him and ex-Remy Zero guitarist Jeffrey Cain. “Refused”’s dreamy imagery, drum loops and wonderful, melancholic melody has got me playing it over and over and over again. It’s especially nice while driving at sunset or on rainy days.

[visit Isidore’s website here, buy their new album here]

Billy Harvey– Like A Boy

This song sounds a lot like something off of Wilco’s Summerteeth. I don’t care so much because a great song is a great song and this is A GREAT SONG with an amazing wordless chorus. Billy also happens to record all of his music himself (which makes this recording even more impressive to me). I’d like to say he has a big mansion in the hills and currently resides on a gigantic label but, the truth is, he lives in a hole somewhere in Austin and self-released the CD this song belongs to. It’s called Pie and if you want a copy, you can go here.

Straw– Tomorrow Is Promised To No One

Mattie Bennett, the man who wrote and sang this song, now works in a bank somewhere in England. It was recorded as part of an album called Keepsakes that was never released. The reason? Because a corporation called Sony funded its recording and then, with its infinite knack for crassness and poor taste, never allowed the record to actually be released. So Mattie swore off the music biz and got a real job. Who can blame him? His band recorded one of the best records of the last five years and no one will ever hear it.

The styPod | 8:00 am | Comments (1)

January 21, 2005

Love. It encompasses so many other emotions that it’s hardly an emotion on its own. This mish-mash of feelings created by its effects is my theme today.

Kraftwerk– Computer Love, [Computer World]

I foolishly once thought that Computer Love was Kraftwerk’s weakest albums. This was before I learned to love it. And hear Electric Café. The centrepiece of the record, perhaps the centrepiece of their entire aesthetic is wrapped up in this seven minute ditty. It’s boring to get into all that now, though. The main thing that strikes me about this song is its ability to change its meaning depending on how I feel each time I hear it. If I’m happy for some reason, it’s a melancholy pop song that has a nice little melody. Perfect for background music. If I’m depressed, it has the power to render me even more so. Perfect for listening up and close and personal in headphones. Either way, it’s a gem among gems on this largely ignored (in favor of Autobahn or the tiresome Trans-Europe Express) masterpiece.

[visit Kraftwerk’s website here, buy Computer Love here]

Six Parts Seven– A Blueprint of Something Never Finished Redeemed by Pedro The Lion

It was a relatively ingenious concept to have artists remix, remake, and redeem the instrumental stylings of Suicide Squeeze band Six Parts Seven. Many of the artists on this compilation added the possible words of the originals, but none so with the impassioned fervor of Pedro the Lion. Largely irrelevant to me nowadays, Pedro has had about three good tunes on, what, four or five albums? This is his most recent, a song that vacillates between wire-tapping blasts of vengeful fury and weary resignation. What does it for me is that slight cracks in his voice. They’re slight and nearly imperceptible, but it’s that sort of naked aside that’s missing from his recent stuff.

[visit Pedro the Lion’s website here, buy Lost Notes From Forgotten Songs here]

Takagi Masakatsu– Primo

There’s a certain calm that goes along with love.

[visit Takagi Masakatsu’s website here, buy Coieda here]

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January 20, 2005

Yesterday, The Lion’s track was misuploaded. Today, we offer a new track in that post called “Bing Crosby.”

Bade Ghulam Ali Khan– Raag Malkauns

For much of the first part of last century, Ghulam Ali Khan was the reigning doyen on the Indian art song. This recording is from ‘61. My knowledge of the technics of North Indian classical music is exceedingly poor, but in Khan’s voice I hear a real heft, a lifting of weight, of pushing air through his (substantial) frame. There’s a gravity to it that’s both immediately appealing and also slightly off-putting. Putting the record on commits you a certain focus for the next half hour, it’s never something I get lost in, but always something that I’m slightly at odds with. Sort of like being in the forest in the dark. Not a lot of records do this to me.

[read an article about Bade Ghulam Ali Khan here]

Kishore Kumar– Guni Jano Bhakt Jano, [Fun Songs]

Kishore Kumar was a renaissance man of the kind that the world cinema has rarely seen. He was a producer, director, leading man and he sung his own songs! When I was growing up, my dad had an LP called “Fun Songs – Kishore Kumar”. As a 6 year old, I rocked out hard and often to “Ina Mina Dika”, but when I found that record again about 15 years later, I was amazed at the depth of the other songs. This one in particular struck me; the breakdown at the end is actually in the form of the call and response of a simple Hindu prayer, but with the names of deities replaced by movie stars of the time period.

[visit Kishore Kumar’s website here, buy Kishore Kumar stuff here]

Mukesh– Chand Si Mehbooba Ho Meri, [Mukesh: Love Songs]

The pleasure of this song should be immediately apparent. I’ve often thought of learning the lyrics and singing it for my mom on her birthday. I’m not that good a son though.

[visit Mukesh’s website here, buy Mukesh stuff here]

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January 19, 2005

Andy Beta is a talented freelance writer that is currently working for The Village Voice, Time Out, City Pages, Perfect Sound Forever, and Seattle Weekly. He has also written in the past for Sound Collector, Incursion, ND Magazine, Luna Kafé, and Pitchfork Media.

In 2001, I wrote some 1,700+ words on Lee Dorsey’s forgotten Yes We Can for the Sound Collector Audio Review, an album I called a “triumvirate of Naw’leans power,” featuring Dorsey with writer/producer Allen Toussaint and the Meters as backing band. I traced the album back from a cover of Dorsey’s “Riverboat” that appeared on Van Dyke Parks’ 1972 album, Discover America. A producer par excellence, Parks worked with everyone from the Beau Brummels to the Esso Trinidad Steel Band, Ry Cooder to Rufus Wainwright, not to mention crafting the columnated ruins domino of Brian Wilson’s Smile.

Parks’s own distinct solo albums sound like mixes that reflect such eclecticism. I noted in SCAR that an album like Discover America is cobbled from “whatever music and themes he happened to be pondering at that point in time…picking up the shuffling rhythms of Trinidad, Jamaica, and Barbados…[and paying] homage to icons like Bing Crosby, the Mills Brothers, J. Edgar Hoover.” It also has messages for UFOs, a Genet-like ode to G-men, steel band rave-ups of Sousa, ladies that look like Jack Palance, and a few covers. Recently, I was overjoyed to finally find the original calypsos that formed the core of that album, performed by a singer tellingly called “The Lion.” These originals can all be found on the fine FDR in Trinidad comp.

The Lion– Bing Crosby

What could be the missing link between Duke Ellington’s jungle growl big band and Jungle-based grime? Trinidadian calypso, of course! (And before you think I’m crazy, check Honest Jon’s fine UK calypso and dancehall comps for implicit parallels.) The Lion was one of the more successful calypso singers, and had a stage name that could trump others like The Tiger, Lord Executor, or Attila the Hun. Weaving against the tropical lilt of his backing band, he employs a sing-song
style that flashes a tough felicity and confident drawl that anticipates both righteous Rastas like Big Youth and the contorted, heavily-accented flow of Dizzee by half a century or more. Some lyrics are political, others preach “vitalogy.”

Here The Lion shouts out the Mills Brothers, comments on the nature of fame, touches discreetly on race in Hollywood (from the vantage of the islands), and embraces pop culture and its subsequent cult of personality as his band samples melodies from the hit parade while his woozy croon anticipates ODB or any bubble-crunk type throaty thuggery.

[buy a Lion album here]

Little Feat– Sailin’ Shoes

A big up to Yancey Strickler for selecting Little Feat a few months back here. Purportedly Parks wrote this with Lowell George, or vice versa, but this is one of the truest drug songs, period, on one of the most slept-on 70s rock albums. Melding delta blues slide to New Orleans second-line rhythms, George linked two American music forms that had never jibed before, and he’s still underappreciated as a guitar player. The playing is nimble, just this side of jittery.

“Sailin’ Shoes” has all the anticipation of that first bump, that ephemeral appeasement that coke has on ‘heads, the ho-hum dancing lady that pales in comparison to the next line, the ridiculous lingo and conspiratorial code that goes with the territory, all delivered with a hep restraint: “Cuz if you if, I’ll lay it on the line…” File it next to J.J. Cale’s “Cocaine” or Nilsson’s “Coconut.”

[buy Little Feat stuff here]

Lee Dorsey– Riverboat

I’m obsessed with sounds that transform into what they are meant to describe. It makes me love INA-GRM stuff, lyrebirds, synths set to “stalagtite,” Robert Wyatt’s sung trumpet lines, pre-dad Mills Brothers, Sacred Harp singing, or more recently, how Petey Pablo raps like a revving bike on “Get on dis Motorcycle.” This may be my favorite example though, as the Meters become a
riverboat inside Cosimo Matassa’s studio. “The horns bleat out steam and smoke, the wah guitar warbles like eddies alongside the boat. Drums cycle and churn like pistons, hi-hats hiss, and Dorsey floats on it all,” I wrote back then.

Dorsey implores only that the world never stop turning, that the festivities never cease, even though enormous cycles of war and death are around us. Every mmm-hmmm and oh-oh-oh is an ecstatic prayer, splashing up from the Mississippi’s continuum as it plays. And this riverboat ride, eternal in my head each time through, lasts only two and a half minutes.

[buy Lee Dorsey stuff here]

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January 18, 2005

Maybe it’s because I’ve been listening to that old Spacemen 3 live album so much recently, but I’ve been really into fuzz. Especially the fuzz caused by crappy recordings, whether intentional or not. There’s something almost tactile about these three tracks, and in the case of the last one I’ve got an MP3 that I can actually guarantee you’ve never heard (unless you know some of my friends from high school).

David Byrne– Once In A Lifetime, [Unreleased]

I can’t remember where I got this from (although I’ve checked and it wasn’t the styPod), but it’s awesome. I guess Byrne was playing live somewhere and started into the classic Talking Heads tune and the crowd went nuts. Luckily, someone was there to record it on their cell phone or something. The screams when the crowd recognize the tune are pretty awesome, but also watch for the bit at about 3:50 where the entire crowd shouts out “My God! What have I done!” A great song, of course, but there’s something giddy about the way everyone in the crowd is so palpably into it.

[visit David Byrne’s website here, buy David Byrne stuff here]

Kompressor– You Will Call Me Kompressor, [Unreleased]

Internet comedy legend (take that as you will) Kompressor has made an entire career out of performing both the songs of others and his own compositions done in the style of “Nag Nag Nag.” So I love him, of course. This is a very short version of Paul Simon’s old chestnut “You Can Call Me Al” that’s swathed in enough vocal distortion that even if it didn’t end with Kompressor screaming “Kompressor crush Paul Simon!” I’d still love it. His take on Beck’s “Debra” (entitled “Kompressor Want To Get With You”) is pretty awesome too, although I have yet to experience his version of “A Salty Salute.”

[visit Kompressor’s website here, buy Kompressor here]

Knights Of Jazz– Peter Gunn, [Unreleased]

One of my friends in high school (Gord Bird, who you can hear the music teacher referring to at the end of the MP3) not only played baritone sax in our school’s jazz band but at one particularly raucous assembly put a small portable tape recorder on the floor in the middle of the band and recorded the show that way. I’ve only ever heard “Peter Gunn” from that tape (for all I remember it might have been all they played), but it’s easily my favorite version of the classic song. Most of my friends didn’t like the level of distortion (especially when the bass guitar first kicks in and a bunch of girls scream) still listen to this regularly. The band is pretty good, given that they’re high school student, but what really makes this is the atrocious sound quality. Plus, of course, I can assure you that no-one else has this MP3. Fool your friends by cutting off the end and pretend that it’s some weird avant-garde thing!

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