Archive for February, 2010
The ever enigmatic “He/she/they/it(?)” responsible for RxRy remains unchanged in that regard, but a relatively consistent outpouring of new material – videos, music, release information, etc – gives the impression of an organized entity/collective with a reasonably mature sense of self. At the very least, RxRy seems to have unusually good people skills for having been unidentified so long.
RxRy – “Edvrd Rvrfy Guitr”
Jheri Evans is the discerning critic behind Get Off the Coast, a great music blog I’ve periodically mentioned or thanked for one reason or another in the past. He just let me know that he’s put together a portfolio site for his collage work, which currently graces his blog and will shortly appear on the packaging of GOBBLE GOBBLE’s next cassette release. He cites his primary immediate influences as “weed and cheesy horror/sci-fi/fantasy flicks.”
Take a looksy-poo.
Hypermagic is, according to the man himself…
…a clandestine indulgence in pure melody, nostalgia, simplicity and drunken bliss. The recordings are generally layers of guitar, voice, drums and a mess of cables, with the occasional theramin, organ etc…
He’s definitely not lying. Hypermagic creates a crystalline ambience in which, governed by that “simplicity,” everything runs slowly wild, tugging an attentive, meditative awareness from “drunken” mood to mood. Good fun.
Infinite Leagues, the debut LP from Chicago’s Golden Birthday and the first release from local label Rainbow Body Records, has gained some distance from its street date in October, 2008, but it must have been a great first step out the door for both band and label. Golden Birthday marries suggestions of funk and shoegaze with an odd danceable sort of dream pop and occasional glimmers of an older, more pastoral psych-folk, producing a dense atmosphere periodically broken by glitchy effects – which is hopefully not too intimidating a description. Infinite Leagues is generically varied, but the tone of (what sounds to be) analog recording gives it some consistency in terms of the ambience it creates, highlighting both the advantages and difficulties of “lo-fi” as a genre.
Having said all that, this is a compelling debut with hellaciously groovy packaging, almost on par with the decor of Rainbow Body’s website. Heck, even the music’s good – head over to the label’s (attractive) website, where they’ve kindly elected not to charge you out the ass for the CD ($10) and LP ($12) versions of the album. Until you’ve the time to oblige, consume:
PS, seriously, check out Rainbow Body’s website. It’s so purdy I tagged this as an “Art” post as well.
As of today, the second most snow-covered day for Royal Rhino Flying HQ in as many days, our first piece of vinyl is available: Seamonster’s gorgeous, five song 7″ single Two Birds, pressed gorgeously on equally gorgeous white (gorgeous) vinyl (g0rge0u5). It’s now available to preorder for $5, which’ll get you both the 7″, an email containing mp3s for (not just one, but) all of the songs that compose it, and a six-song bonus EP of remixes, covers, and (you swoon) the best b-side this side of the a-side. You can place your preorder, your friends’ preorder, and fight chaos in our Order section.
You’ll love this single and I can prove it:
Plus, here’s a great video for “Oh Appalachia,” also presented above for your consumption in mp3 form, directed by Chad Hartigan:
PS, only $5!
Previously posted with my review of the 12″, courtesy of Kill Shaman:
Some fun interviews with Impose Magazine, where Joni explains the burgeoning genre of “post wave” that’s poised to overtake “chill wave” and has already well outstripped “new wave,” and FADER, to whom he talks gender demographics within the band and the conceptual nativity of Sometimes it Kills. Plus, I’ll be damned if the above is not the coolest wallpaper to ever backdrop a photoshoot. At least the coolest wallpaper ever covered by a pink/purple filter in photoshop to make a good publicity shot… not to suggest it wouldn’t have been good without the filter. FADER thought well enough of it to have it at the head of their interview, so my bringing it up isn’t too huge a digression.