so, here's what's up: I got obsessed with Odd Future not long ago, when a friend tipped me off. I spent a pretty good amount of time writing about them, and right around the time I finished, I realized that not only was I way later to the party than I'd even realized, but that I was also adding to the saturation of pointless non-information regarding the group, something that bums me (and them) out. So, while I don't feel that completely deleting my piece is necessary (I did
spend a fair amount of time on it), if you are going to read it, please be aware that it's outdated, contains no new information, and that my skills for describing hip-hop are turgid at best...also, I'm not concerned with fixing any editorial errors or misinformation that the piece may contain, as I'm just sick of fucking with it, and there is enough other shit out there regarding OF that you don't need me to find out what's going on. Ok, that's it.
I like to think that I am, to some degree at least, immune to orchestrated hype. Some people decide to check out an artist if they hear about them a handful of times; I on the other hand usually assume that any artist who's name I see everywhere has some asshole with a vested interest standing behind them and throwing money at everyone in sight to get them noticed, which I find quite tacky, and which just makes me assume that the artist in question hasn't actually
earned anyone's
attention
, least of all mine since they can't seem to gain it simply on the merit of their efforts as ARTISTS. Furthermore, I don't read shitty corporate rock payola magazines like Spin, or shitty indie rock payola magazines like Death and Taxes or Under the Radar. I don't read Pitchfork either (except for the 'history of' type articles, cause come on, those rule!), though I really have nothing against them (at least they don't
only review records by labels who buy ad space from them!), I just sort of assume that the music they cover is stuff that that's intended to appeal to the broadest swath of indie rockers possible, and that's just not me. If you've been keeping up, you know that my preferred way to find about new artists is to see them perform live. Beyond that, I download an album here and there, order many records completely unheard from labels that seem interesting, and rely on recommendations from friends and and a handful of music bloggers who don't write for their paychecks (look to your right).
I just re-read all that, and wow, I really sound like a jackass; it is all true though, and I do actually have a point that I'm trying to put out there, and that is this: Occasionally, and maybe even more often than occasionally as like I said I'm a bit out of the loop when it comes to 'popular music', there exists an overhyped artist who truly is unique, interesting, and worth taking seriously. In 1992 it was Nirvana. In the last decade it's been artists like Girl Talk and M.I.A. Right now, it's
Odd Future Wolf Gang Kill Them All (or Odd Future for short...or Wolf Gang...or Golf Wang).
And, man are they ever overhyped! I don't mean that in the sense that their music doesn't warrant attention, it definitely does; it's just that everyone from NPR and the Wire to the aforementioned shitty corporate rock payola magazines, not to mention the entire blogosphere, has been covering them seemingly non-stop for months, re-printing the same shit over and over, leading to a bit of an information glut, and perhaps foreshadowing a backlash. I would venture to guess that anyone who follows hip-hop even fleetingly has heard quite the earful about them...shit, anyone who follows new music of any genre has probably heard of them. At this point you may be asking the question 'so then why are you writing about them?' Well, the answer to that is simply that I think they're great. I'll do my best to add something new to the proceedings, but in all honesty there doesn't seem to be a lot of ground left uncovered regarding these guys, so if you've already gorged, you might wanna skip ahead.
Assuming you
haven't read anything about them, here's a very brief crash course: Odd Future is a large group (more than ten members) of MCs, DJs, and producers out of Los Angeles. With the exception of female producer / live engineer Syd the Kyd, Odd Future's members are very young men (many are still teenagers) who are into skateboarding, outspoken atheism, evil, and bands like Stereolab and the Liars. Until they began to be offered label deals earlier this year, every album the group had produced (the final total was eleven I believe) from solo records to all-inclusive mixtapes was made available for free on their website. To say that they don't fit very well into the world of popular music as it currently exists is a bit of an understatement, although this fact is something that the group actively strives to change by way of attempting to completely discredit most of popular music which they seem to have no issue frequently dissing for being either old and stale or lazy and soft. They also have some of the most highly scrutinized and abhorrent lyrics hip-hop has ever seen.
The two most prominent members of the crew thus far are OFWGKTA's insanely talented founder and official group leader Tyler, the Creator, and his adorably crude and foul mouthed teenage sidekick Earl Sweatshirt. Between the two of them, they spit enough misogyny (the joy of rape is a frequent lyrical theme), homophobia (Tyler often punctuates the ends of his rhymes with a menacing 'faggot', while Earl refers to the OF crew as 'fag damagers'), outright blasphemy (references to evil and Satan are abundant) and political incorrectness (ever heard of 'black nazis'? well, now you have) to make the offensive hardcore rap lyrics of yesteryear seem tame by comparison.
Their lyrical content has earned them no short list of
enemies and
detractors, and understandably so. As someone who personally knows people who have been fucked with for being queer and women who have been raped, I can personally attest that some of the things Odd Future say give me the big time creeps; BUT I also realize that what they are doing is making ART based on what they know and feel. Think about it like this: if N.W.A. was the product of tough, crime addled streets, police brutality, gang life, and exploitation, the members of Odd Future are the products of the post-modern sense of fractured identity, youtube, rape porn, and ingenuity. They are, if nothing else, the sons of post twentieth century American society, and, yes, what they are saying is repulsive; however, I am of the opinion that what really scares people about OF is that, like N.W.A. before them, they are speaking a truth that the majority of Americans just aren't ready to deal with or take responsibility for: the kids aren't alright, they're really fucking angry. Who's fault is that and how did they get the way they are? It's a complicated question to say the least, and it seems like many would rather get upset about it than ask questions.
Of course, as offensive as they can sometimes be, most of OF's lyrical crudeness must be taken with a grain of salt. They obviously don't actually keep women locked in their basements, burn down houses, or perform oral sex on corpses; meanwhile, their constant homophobia is quickly discredited when you learn that previously mentioned female crew member Syd the Kyd is openly gay. In a sense, their lyrical attempts to challenge and shock the status quo into disbelief are no different than when bands like the Sex Pistols and Throbbing Gristle brandished swastikas in the late seventies for the same purposes, and though OF obviously revel in the fact that their lyrics would scare the shit out of just about any suburban parent in the country, in the group's many non-music related videos on their youtube page, Earl and Tyler seem like the kind of goofy guys who would be really nice to your parents if they came to your house to hang out.
Perhaps it seems like I'm trying to defend the content of their lyrics, and maybe to some degree I am; I am after all, obviously quite the fan. But if nothing else, I feel like shunning Odd Future or targeting them as poster boys for what's wrong with society or hip-hop or whatever will only fuel their anger. Instead, I feel that if for no other reason, we should be listening to what they're saying so that we can learn from them. At this moment, whether they (or you) want to admit it or not, they are a microcosm of America's youth; turning our backs on them because we disapprove of them or refuse to try and understand them is a mistake. It's quite possible in fact, that such knee jerk reactions in the past had something to do with shaping their current attitudes.
I also feel like it's important to give them a chance to grow up a bit and accumulate a few more life experiences with which to inform their viewpoints (one of their favorite slogans 'kill people, burn shit, fuck school' reveals much about their youthful mindset, as artists over the age of about nineteen rarely, if ever, complain about school). There is no question that these kids are abnormally bright and talented, and the directions that they could go in are endless. During the late eighties, who ever could have imagined that Ice Cube would be starring in family films or that the Beastie Boys would progress from Budweiser worship and a giant hydraulic penis to becoming feminists, Buddhists, and vegans?
Finally, to paraphrase
NPR's Frannie Kelley, the offensive content present in their lyrics is one of the least notable things about them, and if they weren't genuinely talented and original no one would care about the things they're saying anyway. So, let's get on to the music then shall we?
First up is Earl Sweatshirt. Unfortunately, Mr. Sweatshirt (who recently turned seventeen) is currently not with the group as he appears to be serving time in teenage purgatory due to parental intervention; despite this temporary setback however, the video for his first single (like his album, aptly titled '
Earl') has received over two-million youtube hits since it was posted in July of last year, and deservedly so. The video is an entrancing fever dream fantasy of illicit drug use and debauchery, blood and death, and the song is not too shabby either, as Earl, from the comfort of a barber's chair in a room full of disembodied doll heads, waxes poetic over an infectious, hard hitting bass groove, about among other things, putting the "ass in assassin" and consuming fried human remains mixed with shit
The content on the rest of the album gets even grimmer, though always has a subtle tongue in cheek feel making it somewhat difficult to get too upset by the lyrical content; in the track "Kill", for example, Earl inserts a verse describing a marathon three-way with Pamela Anderson and Billy Ray Cyrus during which he's served sandwiches by Miley Cyrus, as an amused Santa Claus and horrified Mrs. Claus look on.
There is no challenging the fact that Earl is gifted, supremely so in fact. Every single song on his record is a killer, and his ability to concoct witty and macabre rhymes and effortlessly connect the most far flung concepts imaginable rivals even that of Earl's hero, himself, Eminem. The production work, (mostly by Tyler) is all top-notch, and Earl's baritone flow is about as good as it gets in hip-hop today; imagine the smoothness of a rapper like Q-Tip combined with the non-stop belligerent aggression of someone like Method Man and you'll get a sense of what I'm talking about.
While it's obvious that Earl is a big fan of Eminem and models a good amount of his rhyming style after the Shady one, he has a much more agreeable voice (i.e. he
doesn't sound like a circus clown on helium) and is, in my opinion, much more charismatic; Eminiem has always come off to me as a bitter, middle aged loser full of self loathing and doubt. Earl on the other hand sounds like an MC confidently standing at the edge of greatness with no lingering doubts and nothing to prove. Considering his age, he certainly has plenty of time and opportunity to make the world his, and as soon as he arrives back on the scene, I have no doubt he will do so quite swiftly. In the meanwhile I highly suggest that anyone with even a slight interest in hip-hop immediately procure his album
here.
Next up is Tyler, the Creator's debut album
Bastard, which is different in as many ways as it is similar to
Earl. It's most similar in the sense that Tyler and Earl both adopt the same 'psycho stream of consciousness' style of rhyming, burning through taboos like nobody's business. The biggest difference however is that Tyler mixes Earl's mean-spirited prankster vibe with highly personal themes of introspection, depression, alienation, and suicide. At times it can all come off a bit heavy handed, though for the most part the lyrics are balanced and honest enough, and the songs good enough that it works.
If Earl is the equivalent of OF's Method Man, Tyler is both the group's RZA and Ghostface Killah. He's like RZA in the sense that he is the one pulling the strings on everything, producing beats and leading the crew with no uncertain confidence and swagger; he is like Ghostface in the sense that his spitfire flow is immediately stunning and propelled by ultra obscure and off the wall references packed into bizarre and densely composed rhyme schemes. Yes, I know the Wu-Tang comparison is very lazy and played out, but it works for me in trying to give an idea of what Odd Future actually
sounds like since I'm not very familiar with the process of describing the auditory details of hip-hop the way I am with describing such details for other kinds of music I enjoy.
Bastard's title track, which opens the record, is undoubtedly the most honest and moving hip-hop song I've ever heard; essentially a tirade against an absentee father, the track also covers traditionally un-discussed subjects within hip-hop such as being bullied, peer pressure to be sexually active, and feelings of worthlessness and depression. When he gets to the line "I created OF because I feel we're more talented than forty year old rappers talking about Gucci with kids they haven't seen in years" it always gives me the shivers. The rest of the album finds Tyler frequently spitting angrily at everyone in sight over tracks that range from dirgey to jazzy and is also really, really good.
Odd Future is certainly not for everyone, though many, including myself, feel that they may be poised to de-legitimize 'soft-rap' the same way Nirvana de-legitimized hair metal, practically overnight. This could of course simply be wishful thinking, or even foolish thinking. I certainly don't want the next 'generation spokesperson' to be a faux homophobic rapist, even if it is just a character or just a joke. I know that
I know how to separate art from reality, but when it comes to others, I'm not as confident in their abilities to do so. Did I just say I'm better than other people? Maybe. But regardless of all that, as far as pushing hip-hop forward into fresh, new, and fascinating territory, Odd Future's competition at the moment is virtually non-existent; they ARE the most exciting hip-hop group in the world right now, and if that is something that matters to you, you owe it to yourself to give them a listen.
If you think you can handle it,
here is the place to be.
1. Buffalo Bangers- CD-R and cassette demos
So then, I did mention they were a band, but perhaps the significance of this statement was somewhat lost on some of you, so I'll spell it out: bands, in the traditional sense of the word, have become boring if not obsolete. There I said it. There are of course always exceptions, but speaking strictly in terms of who's been responsible for making the majority of music that has sounded vital and fresh in the last decade, it has not been bands; especially not rock bands. Instead, the most interesting sounds of recent times have come mostly from the laptop/drum machine wizards, the weirdo loners, and occasionally from the post-everything, deconstructionist type bands a'la Lightning Bolt, Wolf Eyes, Black Dice, etc. 
I guess maybe their sound isn't for everyone; if you're looking strictly for the mondo bizzaro, this may not be your bag. But for anyone interested in the progression of punk and goth rock into new and interesting, yet comfortably familiar territory, this band will certainly hit a nerve. With any luck, they'll soon have a record out courtesy of yours truly, so keep your eyes peeled. Until then, check them out on the web here.
Luckily, Kuxan Suum, hailing from the blizzardly hell of Los Angeles, and part of the mysterious Black Twilight collective, exist to provide any would be LSD obsessed black metallars with a direction far superior to those worshiping at the disgraced altar of Waters and Gilmore. Consisting of one seventeen minute long track, Kinich Ahau, begins with a loan, ultra-delayed and reverbed guitar plucking single notes which carry out for what seems like forever, decaying over each other in swirling, almost nauseating, patterns, creating an ominous wall of free floating tones and dismal feedback. The effect is nothing short of entrancing, so much so in fact, that when the black metal portion of the song, which doesn't begin for nearly eight minutes, finally does kick in, it's almost unexpected, and honestly the least interesting part of the track as whole. That's not to say that the black metal part of the song isn't good...it's quite good actually, it's just that it pales in comparison to the song's more transcendentally inspired moments. 
After the black metal interlude, the song returns to the esoteric psych style, this time pushing the hallucinatory guitar elements to such an extreme end, that it would make Eric Clapton, or whatever other bullshit guitar wanker you may favor, run screaming in terror. I first heard this track on the Worship Black Twilight comp. and then ordered this tape assuming there would be different material on it, but had none such luck. The song is so great I wasn't too upset or anything, though I do have one qualm with this release, and that is that it's a one sided tape. Someone please tell me, what the hell is the point of that? I mean, really, I can understand a one sided record, as it costs less to make, and requires only a moment to play over again. But a one sided tape? Why not at least repeat the program on both sides? This would save me the six minutes it takes for the ailing walkman which I run through my stereo receiver to rewind the cassette so I can play the song over again. While this may not sound like much of an issue, more than once I've had the experience of trying to play this tape for a friend, and had them distractedly lose interest while I cued it up. The fact that the tape has no markings on it makes it even more of a pain in the ass, as I can never tell which side is the one with music on it. I suppose I could mark the music side myself...but that's not the point!
My favorite thing about being a music junkie, especially in this day and age, is that pretty much all the music that managed to survive into the 21st century, is now, and will likely always be, available in cyberspace. So, unlike in the past, if you missed out on a particular artist or record during their/it's heyday, you can always backtrack whenever you feel like it and rediscover something you may have ignored, written off, or just not been aware of in the past. Of course, there is also the argument that having constant acesss to free music is damaging in it's own way, and I'll be the first to admit it can be a bit overwhelming at times, but generally speaking, I'd say that having an entire galaxy of music options at my fingertips is much more of a blessing than a curse; my love for and obsession with this DJ Screw mixtape from 1996 is a perfect example of why.
After realizing I had gotten the wrong mixtape, I quickly went back for the recommended one; it didn't take long (maybe 2 weeks) for it to become my favorite hip-hop/rap album of all time. The record features mostly fairly obscure rappers from Houston, DJ Screw's home city, getting the ultimate chopped and screwed treatment. The mix opens with a warning to 'watch yo mutafuckin' screw' (screw in this sense referring to prescription strength codiene/promethazine cough syrup, a concoction which is highly coveted in the Houston scene for it's psychotropic effects), before seguing into an "Salin' da South" by rapper ESG. The song is alright, nothing really amazing, but it sets the tone for the album, and I really dig the combination of the dark, violent lyrics and the smooth, funky background which Screw layers over it.
After the Mack 10 track, is a song called "Serving a Deuce" and I can't remember who does it, but I don't really care since it's the only song on the mix that I regularly skip. "Sippin' Codiene" by Big Moe (who ironically died of health problems believed to be related to his long term abuse of codiene) follows, and segues perfectly into the album's true masterpiece: "Elbow's Swangin'". Performed by Houston's .380, Screw slows the song nearly to a stop making the already extremely deep vocals on the chrous sound positively inhuman. Like on "Smokin' and Leanin" the vocals here wind up an odd mumble, barely if, ever, discernable, gruff and babbling. I haven't heard the original version of the song, but I would imagine that even without the chopped and screwed treatment it's quite the feat of weirdness.
Regarding the re-established credibility of basically every kind of popular music, I want it to be clear that I haven’t said (yet) that this is necessarily a good thing; I certainly don’t condone retro movements of any kind. However, I must admit, that it’s not all bad. If nothing else, the level of access makes the task of establishing and understanding the historical context of a specific genre, style, or artist significantly easier. For many, I imagine this is nothing short of a godsend. I know it certainly would have been for me growing up, as I’ve always been deeply interested in where musical styles evolved from, and how they came about, and I remember how tough it was digging to try and find out about the largely obscured past. So, while the modern obsession with musical trends of the past may not be doing much in the way of creating or promoting new or distinct music, when it comes to learning your history, it’s just fantastic.
As previously mentioned, the band’s style has a heavy dose of early SoCal hardcore melody (Rikk Agnew of the Adolescents was the guitarist on this record), complimented with very breathy, overly dramatic vocals, spooky, reverbed out guitars, and the occasional synth. The band also displays debts to less expected influences from time to time including funk, gamelan music, and tape collage. The lyrics address all manners of things sexual, deadly, and religious, with equal parts overwrought emotionality and twisted humor. The lyrics are actually one of my favorite things about this record, and it’s safe to say that is a major rarity.
I don't know much about Funereal Moon. I know that they're a metal band of sorts, I know that they're from Mexico, I know that they've been around since at least the nineties, and I know that on their facebook page there are pictures of a loving couple in corpse paint posing with what appears to be their infant son. Beyond that, all there is is the music, and I can tell you with the utmost enthusiasm that the music is incredibly fucked up. Well, to clarify they've released five or six albums, most of which I haven't heard; but if the music on those albums is anything like the music on Lucifer's Dagger, rest assured it's as out there as music gets.
Perhaps the most obvious reference point for this kind of black metal inspired atmospheric "non-metal" is Abruptum, although FM really sounds nothing like them. Instead, FM take Abruptum's idea of creating a pure audio representation of evil into more interesting territory than their Swedish precursors did, choosing to forgo the 'angry monster trapped in the basement with the grand piano' vibe for a much more fascinating and aesthetically pleasing 'ancient Satanic sacrifice ceremony' type thing. I know that this kind of music isn't for everyone, but personally, I can't get enough of this weird-ass record and it's bizarre take on evil. 
Mincemeat or Tenspeed, the project of one guy from Philly (now living in Providence) named Davey Harms, is hands down my favorite live act of the last decade. Nevermind that he's literally performing musical alchemy, spinning gold from absolutely nothing before your very eyes, dude can seriously move the dance floor. Of course moving the dance floor is not something I usually care much about in an artist, but I consider Mincemeat or Tenspeed the exception. His records aren't too shabby either.
I suppose I could go into detail about his sound, and how he actually manages to genre hop (punk, bluegrass, ballads) despite the lack of instruments necessary to imitate any existing genre, or how the very existence of his music is more concinvcing proof than any Apple i-gadget, that we are in fact finally living in the future, or maybe about the irony of the fact that perhaps the most original, exciting, and boundry breaking entity to emerge from the 'indie' underground in the last ten years was thought up and executed by someone who has no musical training whatsoever, and who started his project after giving up on the guitar out of frustration. I could do those things; but instead I'm just going to leave you with one of his videos and a link where you can buy Strange Gods (here). With music like this out there, flying cars have gotta be right around the corner. 
This one is another LP I ordered from the fantastic Cocainacopia label/distro, which specializes in black metal, often of the extremely damaged variety (their first release was Dead Reptile Shrine's Burning Black Infinity double LP, and it doesn't get much more damaged than that). I decided on this record based on the recommendation of the dude that runs the operation, and I was not disappointed...but I was very, very, surprised by Circle of Ouroborus' style. Mere moments into the first song, it's clear that this band are not your average black metal band; most of the time their sound resembles post punkers like Chrome more than metal of any sort. The vocals are clean and layered with reverb and flanger, the drums simple and direct, never showy, never launching into anything like a blast beat, the guitars sharp and angular, the opposite of heavy. There are the occasional backing vocals in the black metal style, and the sometimes a riff with a bit of metal punch to it pops up, but they are pretty few and far between. The fact that this band has not only decided to try and establish themselves within the metal underground, but have also actually seemingly succeeded in doing so, is pretty damn amazing. Do yourself a favor and go buy their record here to find out for yourself how bizzare 'metal' had gotten.
Goddamn record store day. This year I knew I couldn't afford to buy anything so I decided to skip record store day and in order to guarantee that I wouldn't blow my pledge not to spend any money I decided to ride with some friends' band to a show they were playing in Alabama. Unfortunately, mere moments after arriving at the house where the show was to be held, we made our way to the record store right across the fucking street which was of course celebrating record store day. And the moment I laid eyes upon this limited eidtion record store special re-issue version of Nirvana's 92' Australian tour EP, Hormoaning, I knew I was gonna blow some cash. Goddamn record store day. But of course I don't regret buying it, and at this point, being a week late on the water bill hardly seems as important as having this gem in my vinyl collection. 
1. Earl Sweatshirt- Earl 
It's hard to talk about Dirty Cloud without mentioning Offering; whether the band intended it or not, I very much consider the albums companion pieces, and if Offering is some sort of sick desert nightmare in which you get sand in your eyes and your house burns down (and it most certainly is), Dirty Cloud is nothing if not it's somber afterthought, coming off like one final stroll through the wasteland that used to be your sanity. Not nearly as as ugly as it's predecessor, many of the songs, such as the nine-minute 'Bloodletting', instead of building into massive wasteland proportions cruise to a peaceful warm place, offering droning, uneasy comfort instead of the violent bone-shattering aggression present on Offering. Additionally, Young's angelic vocals are more prominently featured, while Anthony's vocals are much calmer in general and often carry heavy effects processing. The album still has it's share of noisers of course, 'Lands or Sands' sounds like someone trying to yell at you from across the bridge in a panic inducing traffic jam and 'Ramblin' Pines' sounds like the support beams holding that bridge snapping as easily as a rubber band while AM radio plays, barely audible on your car stereo; overall however, Dirty Cloud tends to hover somewhere above the melee like some barely visible glow through the, uh, clouds (yeah I know, real creative descriptive writing huh?). 
According to one Mr. Stuart Scharder, who is, if not currently the world's most imminent, then certainly at least currently the world's most interesting punk rock scholar, the hardcore scene in Japan has undergone some very odd and unexpected changes over the last decade; in short, all kinds of noisy Japanese crust punk and d-beat bands have begun doing something that has long been regarded as anathema by many in their circles: they've been fucking with the formula.
Regarding the music on this here piece o' wax, (as well as the music of the Exit Hippies, and their off shoot the Exit Hoppers, in general) I feel compelled to give warning that the combination of crust punk and house beats doesn't really come off in the way you're likely imagining, that is at least if you're imagining tight riff based d-beat hardcore with occasional underlying slick, tempered bass thumps to back it up. No, what we have here is much more primal and damaged than anything like that, retaining only the most meager elements of the genres which inspired it. For example, on the A-side of Record and Fantasy, a few seconds of a somewhat traditional sounding hardcore song quickly morphs into a stew of confused screaming and grunting, noisy guitar (which rarely if ever plays a discernible riff), piercing feedback, and rhythmically thumping medium paced club beats. The B-side again launches briefly into vaguely familiar sounding punk territory, before awkwardly segueing into a synth laden hardcore jam so badly recorded it's almost completely incomprehensible; in short it is a really, really, really, good record by a band that is likely currently one of the world's weirdest.
Recently I've been seeing the HoZac label popping up in a lot of places, so I decided to check out a few of their releases. I was specifically interested in the K-Holes after reading a review (don't remember where) of their LP which likened their sound to the Birthday Party, a comparison that tends to get my attention; their fantastic band name and cover art just sweetened the deal. At the time I ordered the record (which I thoroughly enjoyed and will talk more about in a moment), Hozac was offering this Spring batch bargain deal that included the LP and three 7"s of bands I'd never heard of called X-Ray Eyeballs, Women in Prison, and Spider Fever, so I decided to opt for that in hopes of hearing some neat bands...
Another month, another list, another Bird Names record. If nothing else, I suppose this provides some insight into how much I actually listen to this band (hint: it's a lot). 20 Charters is a 10" EP which, if I understand correctly, came out of the same sessions as the album On Opaque Things. This EP however at least in terms of sheer abstruseness and fuck-all attitude is by far the most confusingly deranged output the band have ever released; for me, 20 Charters is like the holy grail of the Bird Names catalog.
So called 'breakcore', as in the all encompassing non-genre which refers to just about anything with a club beat (be it deconstructed or not) that happens to be too strange or aggressive to really be passable (in the U.S. at least) to either the hardcore Ecstasy and glowstick burnouts or the younger, much hipper (and more boring) Daft Punk fans, is something I've been interested in for awhile. Unfortunately, a lot of the stuff I've checked out is hit and miss, and honestly I don't feel that I've ever been able to penetrate the surface, despite having tried a handful of times. Remember my issues with death metal a section or two back? Same kinda shit. Also like death metal however, there are the exceptions, and Shitmat and Ladyscraper, happen to be two of them. 
It's weird; though I've just recently discovered the Brentwoods, my knowledge of bands with which they shared members, former members, and acquaintances stretches back nearly a decade and a half to when I picked up the Got a Record LP by San Francisco garage punkers the Rip-Offs. The Rip-Offs played a sort of simple/poppy, style of garage rock, not too tight, but not over the top loose and wild either, and sang songs about shoplifting and spurning the advances of unattractive women. The cover art featured the four band members standing in a line-up at the police station all dressed in black and wearing wrestling masks. At the time, I thought that record was the be-all, end-all shit, and in fact, I still have it and throw it on from time to time.
The way the Brentwoods tie into all this is that after Supercharger broke up and one of the members started the Rip-Offs, the other two members started the Brentwoods. And ironically enough, as much as Supercharger immediately blew the Rip-Offs out of the water for me, the Brentwoods have now had exactly that same effect on my opinion of Supercharger! Don't get me wrong, I still love Supercharger (I still love the Rip-Offs too for the record), but the debauched delinquent insanity of the Brentwoods makes them sound almost tame by comparison.
My personal favorite record in this collection is the Go Get Bent EP, but they're all great. Unfortunately, I didn't realize when I downloaded this gem from soulseek that all of the Brentwoods music is out of print. This means that the "collection" doesn't actually exist in any form, so I can't provide a link for it. It's a bummer, I know. But, never fear, I'm not letting it go that easily; instead you can grab their only full length album, the criminally obscure, Fun in South City, which is also incredibly sick, here. Enjoy, and I'll see you all at the Buri Buri party!
2. Peaking Lights- 936
