Glad you like it! Palberta's sick, want to write about some of their affiliated projects because I'm starting to think they might be even better ("Lily and Horn Horse" and Shimmer particularly). But there's something particularly sharp yet comforting about this record. Miss these types of live shows
Freebasing bandcamp is back! Now under the competent hands of another BEA account (thanks to Albummaster for rescuing the thread permissions from the old one). Right now I'm studying for an FM license so I can start broadcasting this regional DIY retrospective show to start in the spring on a radio station in Santa Barbara. First episode's on NYC DIY during the OSR Tapes reign and sorta that cross pollination with Brattleboro. So I might as well write about some records as I'm listening to them.
First up is Wooden Ball by Blanche Blanche Blanche. This frenetic zolo record from Zach Phillips (the mind behind this years much praised but bizarrely recorded lounge pop record Fievel is Glauque) and Sarah Smith (just this wonderful free association poet who delivers her lines like a New England Lydia Tomkiw from algebra suicide). It's got an ear to a lot of classic and revival prog pop, like blue gene tyranny or the fiery furnaces but filtered through a four track tape portastudio with lots of observations to belgian minimal synth (this could fit on a volume of the legendary insane music for insane people comps right between berntholer and bene gesserit). The structure switches come quick here (faster than the tape changes on a Cornelius record) and these tight solos that dot this record quickly spindle out of in control like they just run out of musicianship. A masterclass in mic placement too. Yeah, this kind of studied and observational work can come off as self-knowing but it's absolutely wonderful.
We're God's Trashmen Sent to Right the Mess! So begins Fievel Is Glauque, one of the bravest pop records in recent memory. Recorded entirely in five sessions across Europe and North America with an entirely unique set of musicians in each session other than Zach Phillips and the vocalist Marie-Amélie Clément-Bollée this whole thing expertly captures the feeling of seeing just an impeccable jazz band in a cafe at a time where we're all a year removed from that experience. In a way, this album is the logical conclusion of Blanche Blanche Blanche's mic experiments. Recorded with just one mic yet impeccably engineered and mastered by Ryan Power who's one of the best to do it right now. The whole thing has a messy, impassioned song sketch vibe. It certainly summons Zach's Maher Shalal Hash Baz love at times as well as this stereolab sense of vocals. Fear not the Gowi, she is wrong, there is no Cibo Matto vibes here just messy bass placement and the vibe of a lovely spring day.
You cannot post new topics in this forum You cannot reply to topics in this forum You cannot edit your posts in this forum You cannot delete your posts in this forum You cannot vote in polls in this forum
