No Home For Mere Women

I stumbled across Sydney's Mere Women through true global sonic seeker of truths, Tenzenmen Records, in 2012 (along with Hira Hira and a bunch of other Australasian acts I couldn't believe I lived without before then). That album, Old Life, was pretty good, an edgily awkward post-punk slanging match of a record that showcased a trio of young people agitated yet rudderless - like Batrider, but with the lower-intestine bile and overt angst. Fast forward to now. Mere Women know what they are doing now - at least I think they do. The ten tracks that grace Your Town are spirited eve as they languish in a quagmire of reverb and missed chances, airs and graces, rolled eyes and fraught thoughts. The mood that pervades the album is something akin to being forever caught in the shade, behind the 8-ball, gripping barbed wire, seeing the greener pastures wither and die whilst the wheels continue to futilely spin. Despite this melancholia that emanates from the tracks, there is a forcefulness that underpins everything; the baring of teeth; the wanton brandishing of sociopathic disdain (something they share with another great Aussie band, Bare Grillz). 'Heave Ho' even has a bit of the Zola Jesus about the vocal delivery - no easy task. Your Town isn't happy, but it potentially will make you happy, even as you like sliding down the razor blades of oblivion.

Poison City Records keeps hitting home runs, picking these guys up. It's a great release.

Friday Cover Up - Shearing Off A Xiu Xiu

One of the first gigs I went to when I landed in London back in 2008 was at the beautiful Bush Hall in Shepherds Bush. I had been in the UK for about a month, and yet I was landed with the task of showing a friend around to see the sights. I had just started work out in Essex and was commuting in and out every day, and it was knocking me around - so we saw a bit of Trafalgar Square and Soho, ate some crumbed mushrooms (?!) then sunk some pints, before I convinced him to come see the double billing of Shearwater and the Constantines for five quid. Both bands played for over an hour, and I came away adamant that this was going to be the start of my love affair with the place. And so it was.

I have to say that I've had a crush on Texans Shearwater since that day too. So the fact that their latest endeavour is Fellow Travelers, a series of covers of bands that they admire and have toured with over the years, pretty much means that this segment is locked up til the end of the year. The first taste of the record is a cover of Xiu Xiu's 'I Luv The Valley (OH!!)', and it's a raucous release that energises. This has some resonance for me too - the only time I saw Xiu Xiu was the last show I reviewed for the first magazine I ever reviewed for, Low Rise, back in 2010. They were supported by a burgeoning Zola Jesus, who stormed around the stage like a trapped animal, howling and soaring over a backing track only - and she blew them out of the water. At least here Jamie Stewart gets a little ground back - but only because Shearwater are at the helm. And it's just in time for new ZJ material as well, hmmm... Fellow Travelers can be pre-ordered here - it sounds like the kind of covers album to savour with the likes of St Vincent, Clinic and Smog being reimagined. Have a great weekend everyone!

Going Easy On Blank Realm

 

Blank Realm have been one of the best bands in Brisbane for a while now. It wasn’t whether they would make the next step into awesomeness, but when – 2012 saw them support many killer acts (Mark McGuire, Maria Minerva, Zola Jesus, Blues Control, Sun Araw), and their releases on Not Not Fun and Bedroom Suck kept pushing them into the slipstream. But when I heard that Siltbreeze was going to be putting their next record out (in America at least – Bedroom Suck distributed it here, and Fire Records will do the Euro route in March), I thought “This is it.” And goddamn if Go Easy isn’t one of the best records of last, or any, year to come out of Australia. Seriously.

 

'Acting Strange' kicks things off, a dirty, chaotic, feverish melange of noise played loose and free. Dan and Sarah Spencer’s vocals intertwine in equal doses of laconicism and high-pitched anxiety. The synth is broken glass on the spine of the melody. Luke Walsh’s guitar roils and spits as only the most fervent No Wave acolytes know how. But there is tightness within; the quartet is more in control of their id than ever before, and is even more adept at spinning on a dime. 'Cleaning Up My Mess' is all loose limbs and slack-jawed grins stretched to breaking point, offering an interesting amalgam of the Victorian slacker-pop zeitgeist with glacial wear and tear, and a guitar solo that could be locked in the Flying Nun archives. 'Working On Love' seems like the closest the band will come to a straight up garage rocker, before the insidious barbiturate-pop of 'Growing Inside' scratches at the inside of the skull once more, an evilly charismatic heart-burner. The band even split 'The Crackle' in half, leaving a post-punk abrasion on one side and an indolent down-the-rabbit-hole percussive nightmare on the other.

Ending with excellent guitar wigout 'Pendulum Swing' and the delectable amble of the title track (one of my favourite songs of last year, and of the summer), there is no doubt that Blank Realm is deserved of high praise and prized support slots. Hell – don’t be surprised if the tides turn; this album has the bent swagger to warrant headline turns. A brilliant record. Grab Go Easy here, here, or pre-order here.

Blank Realm – Cleaning Up My Mess
Blank Realm – Growing Inside
Blank Realm – Go Easy

Growing Inside A Blank Realm

Blank Realm is one of the hottest bands in Brisbane at the moment, and this is bound to continue when they release their new LP through Siltbreeze later in the year (it may drip over into 2013...). Here is a taste of the wasted pop that promises to be on offer (and check out the artwork below - very sleek!). 'Growing Inside' seems more insidious here, more likely to - yep - grow inside you than its more frenetic live counterpart. The band played a stellar support slot for Zola Jesus not too long ago, supported Mark McGuire earlier in the year, and will be again in support mode when Estonian dark pop diva Maria Minerva plays the Judith Wright Centre on Wednesday - get tix for that here.

Interview - Amanda Brown (Not Not Fun Records/LA Vampires)

LA Vampires is the name of the solo venture by Amanda Brown, formerly one half of Pocahaunted along with Bethany Cosentino, who left to concentrate on her own project, Best Coast. With LAV Brown has moved beyond the dark drones and goth-tinged psych-rock of her former base duo towards a more "pop" sound - yet you can take the girl out of Pocahaunted... Brown is also responsible for stellar label Not Not Fun, that she runs with husband Britt Brown (AKA Robedoor). She is currently in Australia, and I spoke with her recently about...well, everything.

SONIC MASALA - Before talking about your current band, I wanted to talk about Not Not Fun. How have you ensured that the label has been able to grow into such a venerable label without losing any of the initial aesthetics that set it apart from its contemporaries when you started it?

AMANDA BROWN (LA VAMPIRES) - That's just the constant struggle. Honestly, Britt and I never claimed the label had a genre-bend, or that it would stay the same, cater to the same audience over the years. We've only ever promised it would remain true to our personal aesthetics, and that means the label goes through the same changes that we do as humans. Finding yrself out of love with long-form drone isn't such a bad thing, if the next musical love goes as deep and feels as intense. It's been quite a turn off for some people, but for us there's no other way to do it. And obviously for the fans who respect that we cut a line straight through trendiness, that we don't get whipped around by what's in favor, that we just release the music we connect with - they're elated that we move and grow and try and strive.

SM - There have been some amazing artists on the label , many of which have emblazoned our blog – Daughters Of The Sun, Ensemble Economique, The Deeep, Robedoor, Zola Jesus – this barely scratches the surface! What do you think attracts them to you?

BROWN - I'd like to think it's our straight-forwardness and our sweat. If you send us a master and we love it, the process begins immediately. We don't sit on great records and wait for the "perfect" time to release them. I think bands love that, they love to move fast and to have their music available to hear and buy. We're also huge fans of the musicians on ourlabel: exploring with them, believing in them, supporting them (often times monetarily, sometimes just by setting up shows or hook-ups with other bands/tours/venues). Britt and I want their records to sell better than our own. I don't think you can find that kind of intensity and dedication in many vanity/underground labels. I wanted Maria (Minerva) on this Aus tour with me, so that I could see HER play!

SM - How do you find running the label?

BROWN - (laughing) It's not easy, man!

SM - Is the cassette form actually a good musical medium, or just a fad?

BROWN - The internet's a fad. Digital music is a fad. The cassette is warm and homey and compact and tangible and aesthetically quite pleasing to touch and listen to. I feel sorry for CDs sometimes, they never stood a chance.

SM - Id be remiss of not mentioning Pocahaunted, the ace band you originally started with Bethany Cosentino (Best Coast) and had Cameron Stallones of Sun Araw and of course your husband (Robedoor) involved. Firstly, these are all disparate directions – how do you think these musical outlets have been influenced by the Pocahaunted days? And is Pocahaunted reached its definitive end point?

BROWN - Pocahaunted is absolutely over. I mean, you said it yrself, everyone wanted to make different music, everyone was evolving into different directions - with side projects, solo projects, or even just hazy dreams of a distinctly different musical future. Bethany wanted to do her spin on 60s pop, Cameron wah-wah psych, Britt Skinny Puppy dark-keyboard stuff.I wanted to do this. I'd like to think we all took something bizarre and cool and transcendent from Pocahaunted, but maybe not. Sadly, with ever-morphing bands, changing their sound and their roster, most members fantasize about a liberating moment when they can "do their own thing." Wait, I don't know if that's sad, that's just the way it is. I definitely wanted more from my music journey by the end.

SM - What about the industry in general – are there labels you feel a kinship towards? Labels that aren’t doing the right thing by its roster?

BROWN - The industry is nuts. I'm lucky I almost never have to think about what the rest of the musical landscape looks like - I don't have to judge it or feel oppressed by it. As a teenager I dutifully loved K, Kill Rock Stars, Matador, and Thrill Jockey. What ghetto-ized their vibe was the time they really shined in. When it's not the 90s anymore, it's hard to stop being so... 90s. Not every label can be hit after hit, just like we can't ...but I do like random output from DFA, Future Times, R & S, Hyperdub, Kosmisk Vag, Brunch Groupe, Stones Throw. Night People is run by Shawn Reed, and I love his art/aesthetic. When Jeremy Earl did Fuckit Tapes, I thought the awesomeness would never stop.

SM - Labels like Shawn Reed’s Nothing People and also Sacred Bones are infiltrating Australia, as is your own label, but there has been a concerning trend of independent record stores closing down over here. What’s the alternative, especially for a far-flung nation like Australia?

BROWN - You have to fight to keep your record stores open! There is no alternative!You guys are SOOO far away from America, and who cares - I mean, it's not like America is the center of the world - but if your interested in hearing what's going on in this country, you have to make sure to promote and support little stores trying to stock our stuff. Don't go immediately to the internet and download. I suppose it also doesn't hurt to throw a lot of money and a few plane tickets at artists to get them to your beautiful country...

SM - We'll try, haha! OK, LA Vampires – I hate to say it (well actually I don't haha!), but…”witch house” or something else?

BROWN - Witch House is a punchline. It's pretty funny, but besides Salem, I don't think there's an artist or a group who would ever claim it. I'm not that witchy. I'm certainly not goth.. You do one record with Zola Jesus... (laughs)

SM - How have your experiences both personally and musically influenced LA Vampires?

BROWN - That's so broad! I mean we're one in the same! LA VAMPIRES is me, it's all my musical and personal experience in a performance/sonic art. Definitely after years of running a label, playing in bands, touring, being elevated by other musicians/label owners/venue owners/bookers/etc, I've become this new thing entirely. Now I follow my own inspiration. If I want to do dub, I do it. If I want to do Skrewed, or Baggy, or Hyphy or anything, I just do it. It's about not having the fear, not having to answer to other bandmates, not worrying about yr old fans or new fans or future fans. Just trying to be soulful, honest, and constantly inspired. When I start to feel bitter or crushed by shows or tours or releases or anything else, I remember to be human. I eat a good meal, I watch a brilliant movie, I sleep, or read Martin Amis, and then I come back refreshed and ready for VAMPIRES.

SM - What can be said about the recording process opposed to the LA Vampires live show experience? Ive found that acts like yours that I saw in London last year were various shades of shit (not slagging you at all, I think I just had a rough run haha!)

BROWN - I have no doubt that you've seen some shit shows. In fact, right before I said yes to this tour I was chewing my nails bloody trying to imagine what the set would look and sound like. My friend Aurora from Innergaze was like, "Yr not gonna just do karaoke-style are you? That sucks!" And she's right. Aren't we all getting sick of just seeing laptops? Or just watching someone press play on an iPod? What a dark time for live music if that's all we have to look forward to! So for this live set, I've put together great beats/tracks and have Nick playing live keys, Britt doing live mixing, and myself on vocals. I dance, I emote, and hopefully the audience will too.

SM - Frankly! is a festival that is very boutique in nature, and is indicative of the change in music-going trends here. Yet these types of shows are commonplace in the US and Europe. What do you think a festival like Frankly! brings to a place like Australia?

BROWN - I wish I knew more about Australian culture so I could answer that properly. To be honest, you all seem very cool to me - like you have your eyes and ears to the serious cultural ground. I love Australian fashion, and I love Australian actors (Cate Blanchett is a goddess!) and so I assume your art and music scene must also be thriving. From just knowing Blank Realm, Angel Eyes, Canyons, and Rites Wild I can tell something incredibly vivid is already happening right on your Aussie doorstep. But festivals are wonderful ways to get the world together on one vibe, and it's bringing me to you, so I'm endlessly thankful for that.

SM - What bands are you into at the moment? Any that particularly should be followed fanatically by Sonic Masala/NNF acolytes?

BROWN - I love so much of what's on 100% SILK (of course):SFV ACIDOCTO, OCTAMAGIC, TOUCH, INNERGAZE, PHARAOHS, STRATEGY and Miracles Club, Maria Minerva, Rangers, Zola Jesus, Sapphire Slows, Mi Ami...I saw you're a big fan, Daniel's great...and then there's the old stuff I always listen to: Sylvester, Bjork, Deee-Lite, Digital Underground.

SM - Have you ever been to Australia before/are there any parts of the country you're excited to be visiting?

BROWN - I've never been! I'm crazy excited, I can't wait! I hear amazing things about Melbourne and Sydney, but Nick keeps telling me about the coral reef in Cairns. He wants us to go on a glass bottom boat and check out the sea-life. Not really my bag, but how can I resist?

SM - Finally – what is sonic masala?

BROWN - It's putting silk in your ears.

LA Vampires plays the Frankly! It's A Pop Festival at Brisbane's Powerhouse tomorrow, alongside Wet Hair, The Twerps, Blank Realm, Angel Eyes and loads more. Get tix here.

Zola Will Seekir Jesus

It may be a month away (October 4 in fact), but Zola Jesus' new album Conatus (out via Sacred Bones) has another track floating out in the ether. This one is called 'Seekir', and is more disco-friendly than previous taster 'Vessel', was. Nika Rosa Danilova's iconic voice is ever-present though, so all is well with the world...


Zola Jesus - Seekir by sacredbones

A Chelsea At The Door

I must admit Ive been behind the eight-ball on this one. By about four or so months I reckon. I first heard some stuff by Chelsea Wolfe a few days before I left London, back in January this year. My sister and her fella were gushing over her, saying that she held a style and sound very similar to Zola Jesus. I have to say that there are slim similarities, but Wolfe's oeuvre is somewhat darker - yet it is bubbling under the same gossamer sheen that Zola and other artists like Glasser utilise, thus making it even more menacing and captivating. That was The Grime And The Glow. If you haven't heard it, fucking hear it. It is dark, disturbed, and altogether beautiful. I am in its sway and thrall, like a voodoo curse. Be careful with this - its a narcotic you may not be able to return from...

Chelsea Wolfe - Advice & Vices

Bow Down At The Cult Of Youth

Sacred Bones put out the eponymous LP from Brooklynites Cult Of Youth a couple weeks ago - and it completely blew me away. First of all, its not indicative of the common Brooklyn sound, or even attitude - this is inebriated sea shanty neo folk, very Shane McGowan in its rambunctious charisma and swaying emotion, albeit more clean cut. There is a certain darkness that infuses these songs, thanks in no small part to Swans producer Kevin McMahon behind the mixing desk (especially in tracks like 'Weary'), yet the pure effort put into these songs is mind-meltingly good. Punk-infused punk played in a faux-Irish bar, occasionally imparting archaic knowledge as fair maidens dance around the Maypole, occasionally standing affectedly whilst simultaneously going out of control, occasionally smashing pint glasses into the bored sailors in town for Fleet Week - its one of those albums that seems so out of place that you cant even imagine NOT loving it.
Cult Of Youth is out now. The band are playing SXSW in March, preceding that with a brace of Stateside shows with Pop. 1280 (that would be fucking unbelievable, please get to those shows!), then finish out April with a few US/Canadian shows following in Zola Jesus' wake. The Cult Of Youth is here.

Cult Of Youth - New West
Cult Of Youth - Casting Thorns

Sonic Masala's Fave EPs of 2010!

So the duty of Sonic Masala's second 'best of' list falls to me, and its late. No change there. As the title points out I've got the daunting task of picking out our fave EPs for 2010 and there are a hell of a lot to pick from. Now as we all know EP stands for extended play - no shit Sherlock - and as such a format extended play seems to have stretched its criteria somewhat. There really seems so to be no set rules these days about what is an EP and what's not, from the number of songs to the size or even type of format, is all up for grabs. So our list below has taken some liberties, after all isn't a mini album or a limited 10" an extended play?

So with this in mind, and so much awesomeness to choose from, the list below was really rather tough to put together, I'm sure I'll have committed some heinous crimes and omitted some real gems, if so please comment and correct. So without further ado, and in no particular order, here's the EPs and other extended plays that have got SM all worked up into an extended frenzy this year...

Sonic Masala's Fave EPs of 2010...

LA Vampires and Zola Jesus - LA Vampires meets Zola Jesus

Double Dagger - Masks

Not Cool - Rugged Raw

Gum Takes Tooth - 5" floppy disk demo

Factory Floor - Untitled

Forest Swords - Dagger Paths

Pop. 1280 - The Grid

Zola Jesus - Stridulum

Running - Running

Islet - Celebrate This Place

When Dinosaurs Ruled The Earth - Peaced

Zorch - Zut Alore!

The Austerity Program - Backsliders and Apostates Will Burn

Not Not Metal Matrix Vamp

Now it wouldn't be a set of Not Not Fun posts without mentioning Amanda Brown's other project LA Vampires. It's been a busy year for the LA Vampires persona. LA Vampires have dropped no less than three collaboration chronicles this year. First was the warped Psychic Reality split, more split than collaboration in truth, that dropped back at the start of the year. Then of course there was the darkwave/noise goth genius that was the LA Vampires Meets Zola Jesus E.P, an E.P that I still maintain is one of the best of the year, it was a revaluation. And now in yet another twist of LA Vampire warped, head fuck magic there's this collaboration with the elusive Matrix Metals, the So Unreal long player that dropped last month.

So Unreal, to lift a term straight form the Not Not Fun write up, is just that So Unreal. The project was first hinted at with the surreal video for track 'Make Me Over' and then followed up with the vid for 'How Would U Know' below. In So Unreal the unlikely partnership of Matrix Metals, LA Vampires really has coaxed out a new and slurred world of distorted rhythms and blurred beats. Track 'Berlin Baby' sums it up for me, a drug hazed Berlin basement, full of echoed and sick pop vocals, caught in a soup of marshmallow grooves and textures. Matrix Metals is aka Outer Limits Recordings and those sensibilities apply here in every way, name included. If LA Vampires' work with Zola Jesus pushed new surreal territories of dark goth noise then Amanda Brown's latest work with Matrix Metals really is pushing it to every kind of outer limits. Not Not Fun hints at more collaborations to come next year, I can't wait. Out on Not Not Fun, naturally, buy here, taste below.

LA Vampires and Matrix Metals - Make Me Over


LA Vampires feat. Matrix Metals - How Would U Know from Not Not Fun on Vimeo.

Interview - Freddy Ruppert of Former Ghosts

4th interview, woo! So after the admittedly more coherent than expected craziness that is the brilliant Mark Sultan, we delve into the makings of New Love, the hotly anticipated second album of Former Ghosts AKA Freddy Ruppert. He took time out on his heavy touring schedule alongside Xiu Xiu and Zola Jesus to take us through his motivations, the interesting process behind creating a Former Ghosts album, his love connection with local label Upset the Rhythm, and to give a heads up on bands he thinks we should be getting our kicks from.

Sonic Masala - Congratulations on the recent release of your new LP New Love. Its been a warm favorite here at Sonic Masala for the past month since we received it. Before I make some calls on what I think, how was the process of writing it for you as opposed to the genesis of first LP Fleurs?

Freddy Ruppert - Thank you. The general writing process was essentially the same. I would write the song then send it to the people I would collaborate with and then they would send me back their parts and then I would piece it all together into a cohesive unit. One difference is that I did collaborate with Yasmine Kittles in the same room, which was new to me, as all other collaborations have been done through the mail and through e-mail due to the geographic location of everyone else and because of busy schedules. Also, the first record kind of came together really haphazardly as most of the songs were written and recorded as fast as possible to be posted on my personal blog. Whereas this record didn't have such an intense time constraint, it was more of just a frenzied response to myself with a feeling that there wasn't really an audience for it.

SM - A lot of hype surrounded this release. Did you feel any of that clichéd ‘second album syndrome’ pressure, or even a certain level of expectation to provide a certain style of release?

FR - I think the only pressure I felt was that I would just end up remaking the first album all over again. Maybe I did that. Maybe I didn't. I'm still singing about the same exact things. Still obsessed with love and romance. Still approaching pop music from the same lense. My biggest fear was just releasing a second album that was exactly the same as the first.

SM - Personally I think that New Love is unnerving in its honesty and yet its coldness, almost stand-offish in nature, actually finds affinity with the heartbroken in all of us (ahh…). It’s such an alluring listen, with such a see-saw of juxtaposing sounds and emotions. Was there a deliberate stance on creating such a sound that swung back and forth from warmth to distance and back again?

FR - I don't think the bipolar nature of the record was really deliberate but more just came out of naturally being in that state while recording/writing these songs. As anyone can attest to when they are involved in stormy apocalyptic relationships you swing back and forth between "fuck you and fuck this" to "wait, no i'm in love with you, hold onto this". I think this bipolar feel in this record comes from it being more about myself and my own ideas of what love is supposed to be whereas the first record was more directed at someone. I think the whole reason I am even creating music is to just relate to other people on some kind of human nature level- otherwise I'm completely lost as to why I would do this. Sometimes I get e-mails from people stating "thank you for putting out this record, i'm going through such and such, and it let me know that I am not crazy and alone in feeling these things" and for me my response is always like no, thank you for letting me know that I am not crazy and alone in feeling these things!

SM - Let’s talk about the conception process. You’ve stated in the past when bringing together Fleurs that you had always wanted to work with Jamie on a different project, and vice versa, but it took so long to find a common ground. How was it bringing the group (also including Nika here) together again for New Love?

FR - I've always been a crazy dictator when it comes to the creative process of Former Ghosts. I think maybe even more so on this record. Jamie had just put out Dear God I Hate Myself and was gearing up for a year of relentless touring. Nika was putting out numerous EPs and touring like crazy as well. Both of them were extremely busy with their own respective projects. So I think both of their contributions on this record are less than they were on the first. I brought in Yasmine Kittles because I was obsessed with her voice and the way her voice was so different from Nika's. So most people’s contributions on this record were kind of frenzied responses before they were leaving for some insane long tour on the verge of releasing their own huge albums.

SM - How collaborative is the Former Ghosts process?

FR - It is collaborative in the sense in that I like working with people because it brings out certain emotions that I cannot bring out, or forces me to approach things in different ways. It is collaborative in the sense in that I'll create something and I can feel the desperate need of someone else to fully give life to it. But the project is not collaborative in the sense that I am a complete control freak and a total dictator in the creation process and the path and direction Former Ghosts takes and what Former Ghosts is about and what Former Ghosts presents itself as.

SM - Since Fleurs’ release Nika’s Zola Jesus has stormed her way into the stratosphere in terms of her popularity and her growing confidence in her medium. Did any of this influence Former Ghosts, the second time around?

FR - No. Just that she was even more busy and both "Chin Up" and "Only In Time" basically came together over instant messenger!

SM - This may be an oft asked question, but how did Nika become a Former Ghost?

FR - I had the first couple of Zola Jesus 7"s and I really liked her voice and what she was doing so I sent her an e-mail asking her to sing the ending part of ‘This Is My Last Goodbye’ on Fleurs. She said she would love to so I sent her my demo version, got her version back and I was so blown away by it. I asked her if she would want to collaborate on more things and that is where ‘The Bull and the Ram’ and ‘In Earth's Palm’ came from. We both agreed that we should continue to collaborate with each other because we both feel like we get something rewarding for ourselves out of it. I really respect what she is doing and she is also a really close friend of mine.

SM - New Love also sees the addition of TEARIST ‘s Yasmine Kittles, as you’ve previously mentioned – what does she specifically bring to your vision for these songs, both in the studio and on the stage?

FR - I had been seeing Yasmine's band Tearist play around Los Angeles for quite awhile and we’ve become close friends and I really loved her voice. I love the female voice in general and I felt like the contrast between her vocal style and Nika's vocal style would be really interesting on the record and what the record was trying to express. There is just such an understated soft beauty in Yasmine's voice, and with Nika there is an overwhelming powerful beauty. I think for me it was more the contrast between everyone's voices on the record. On stage, depending on what the line up is for Former Ghosts that night, the energy completely changes.

SM - You’ve chosen Upset The Rhythm to release the album, as you did with Fleurs. We here are massive fans of UTR – what draws you to put out stuff with them?

FR - Upset the Rhythm are a completely amazing record label. Chris is just such an amazing person. I got to stay at his place for a week and just being around him is super inspiring. His love and energy for new music and all kinds of new music is really inspiring. Chris is also crazy enough to let my crazy self do whatever I want with Former Ghosts and working with him has been so easy. No contracts. No business bullshit. Just a really old fashioned punk approach to running a record label. I love what he does.

SM - How do you feel about the constant Joy Division/Ian Curtis comparisons (and sometimes jibes) that are aimed in your direction? What then would you say is a more accurate reflection of your influences?

FR - As far as the Joy Division/Ian Curtis comparisons - yea I get it, I have a deep voice that is inspired by 80's British music. I don't think that Former Ghosts sounds like Joy Division. I mean, in highschool I grew up listening to a wide variety of stuff- glitchy 90's Warp records IDM, 80's British goth/post punk, synth pop, industrial/EBM, industrial/avant garde- I think Former Ghosts is more of an amalgamation of things I listened to in highschool which was a lot more than just Joy Division. But people always need some kind of frame of reference and they will usually always go for the easiest most obvious thing that other people can relate to as well as well as whatever current genre hype words are being thrown around/revived/invented.

SM - A couple of simple questions to round us out then, if that’s cool. We posted a while back on your Welcome To Old Love mixtape, especially the remix done by Friendzone. So you do work with or embrace the work of others. What acts that are currently doing the rounds do you find most interesting or exciting, maybe even stimulating you creatively?

FR - I think all of these "newer"/more recent acts are really exciting and great and influence me as well as are doing something important and also having a distinct vision of what they want to do and accomplish. I'm usually attracted to artists that have a really distinct vision in how they present themselves:

Friendzone

Continues

Nicole Kidman

Felt Drawings

No Paws No Lions

Dva Damas

Tearist

Whitman

SM - Finally, what is sonic masala?

FR - Something really, really tasty. Sorry, I can only think of food when I see masala.

New Love is out now through Upset The Rhythm.

Former Ghosts - New Orleans

Gig - Xiu Xiu/Zola Jesus/Former Ghosts @ XOYO, 01.11.10

First time at XOYO for Sonic Masala, as we line in the cold we wonder what we have in store...


Former Ghosts - New Orleans

Herding into the downstairs area that seems amply set up for club nights, first on the stage is Former Ghosts. Main man Freddy Ruppert comes across as nervous as he and Xiu Xiu frontman Jamie Stewart set up, necking frantically a couple of beers before launching into some material from new album New Love. Stewart's manic guitar here heightens the ominous nature of these cold electronic driven tracks, whilst Ruppert's vocals echo the Ian Curtis comparisons that have been thrown at him in the past. The lyrics are plaintive and emotional - none moreso on standout track 'New Orleans', where he gyrates on the spot whilst lamenting that "it's all my fault/that I fell in love in the first place" - a great, great pop song, albeit for a forlorn, smashed up heart. Exit Stewart, enter Jesus - Zola Jesus, who sings two tracks here. The first is 'Chin Up' from the new album, and to highlight how much this sounds like a ZJ-lite track, the second song where Ruppert duets with her is much more affecting. The crowd ebbs and flows here, and when she leaves the stage you can feel an edgy anticipation in the room - how will Ruppert fare solo? Fairly well as it turns out, although he does have some major technical difficulties that he does his best to overcome. Ruppert really feels these songs - he is in danger of hyperventilating after most tracks - and even with the slight disruptions and the bigger 'cameos', Former Ghosts is very much his beast.


Zola Jesus - Tower

Zola Jesus is next up, and she starts her set with a shroud over her head, her back to the crowd, crouched in front of a speaker. The diminutive youngster doesnt take long to get rid of the veil though and launches into what must be one of the strongest vocal-driven sets Ive ever seen. Her voice is not just unique, but iconic - her trancey goth pop would be nothing if not for the power that emanates from within. She has charisma that showers the front rows, and her frantic movements - at one stage prowling back and forth across the stage like a cage tiger, furtively looking for a lapse in concentration so that she can leap out and maul a hapless onlooker; at another she climbs a speaker, her hand in her peroxided hair, her gaze set out in the ether. Taking tracks from Stridulum and Valusia, she, like Ruppert before her, knows and feels these songs. She opened the set with a cryptic statement about how she wrote these songs herself, and thats how she would perform them - yet the fact that she is backed by loops and a tape machine actually does her an injustice, as her voice overpowers the icy tones outlaid. She would benefit from a live element to the sound, which I feel would push her songs - and that amazing voice - even further into the stratosphere. As it stands though, once she leaves the stage, it feels like a vacuum out in the crowd - she has stolen our energy and life force and we are left wanting.


Xiu Xiu - Razor Scooter

Which could be part of the reason why Xiu Xiu were such a letdown to me. Dont get me wrong - Stewart and partner Angela Seo are accomplished and incredibly engaging performers - but I really felt left out in the cold on this one. My verdict after much thought is that you need to be aware of their back catalogue to fully immerse yourself in the Xiu Xiu experience. Because it is exactly that - an experience. Every song has some frenetic to and froing - singing, crooning, yelling, percussive blasts and dings, and the use of a wide array of peripheral 'instruments'. Yes, there are a lot of toys here - they fill a large plastic container - but for every effective sound effect, whistle blow and cymbal smash, there seemed to me to be two or three quirky use of sound that came across as redundant. Imagine if Cursive's Tim Kasher fronted a streamlined Nine Inch Nails format, with 'comedian' Carrot Top as executive producer, and that is Xiu Xiu. Not that I hated it - Stewart and Seo were manic performers, and impressed with the emotive lyrics and disjointed melodies - I just felt that there were some tracks here that could have done more with much, much less. In the end, I left the show more bewildered and bemused than elated. As I said before - maybe I just didnt get it.

Former Ghosts Channel Taurean Dreams...and other Ruppert Flights Of Fancy

We here at Sonic Masala are apologising. Not that you'd know any better, but I in particular am sorry that we have not been able to run a stream of Former Ghosts posts over the past few days in the lead up to the Xiu Xiu/Zola Jesus/Former Ghosts mega gig of death at XOYO tonight. Suffice it to say that there will be follow ups - a gig review, a brief album review of New Love, Former Ghosts' second LP, an interview with FG frontman Freddy Ruppert, and a look at Zola Jesus' upcoming releases. None of this has come to fruition though - the interview is still yet to be written up, the reviews tying in with said interview, yadda yadda. Its my fault - Im sorry. So Ill leave you with this track, off the new LP, and hope you garnered tickets for tonight's show. It will be amazing for sure.

Former Ghosts "Taurean Nature" Music Video from Amir Shoucri on Vimeo.

Former Ghosts Drift Away Into The Friendzone

This post is effectively two posts, although intrinsically linked by one well
executed remix.

Former Ghosts have piqued my interest ever since best label/promoters in the world* Upset The Rhythm put out Fleurs last year. The brainchild of Freddy Ruppert, Former Ghosts is a heady rush of stark industrial lushness, the coldness inexplicably emanating warmth, hence the Joy Division references made in the past. Helped by Xiu Xiu's Jamie Stewart, TEARIST's Yasmine Kittles and a certain Nika Rosa Danilova, Former Ghosts walks a murky tightrope of turbulent emotions, ultimately a deal with the devil, the progeny of which is this disturbed synth pop that has the elements of light and dark constantly at battle.

Then along comes a remix of their track 'Chin Up', coming out on their newie New Love in a month (also through Upset The Rhythm).

I approach all remixes that come into the SM inbox with trepidation, as many (OK, the vast majority) so called 'remixes' are either ho-hum or completely dire. However I decided to chance the arm of this one, and it easily showed it could go the distance...and then some. The track, already having that dark ambient charm that they have cornered with aplomb, is buoyed by additional drumming tracks, severely distorted vocals and insistent synth, creating an entirely new track that Ruppert himself endorses wholeheartedly on his FG mixtape, Welcome To Old Love, a prequel of sorts to the new album which is stellar, and here.

So who are the wielders of such dreamy magic then? Rather than being that moment in time when you realise that the person of your dreams will always be your bud and nothing more (a nightmarish and all-too-common notion), Friendzone is the project of James Laurence and Dylan Reznick. They are from the Bay Area of San Francisco, although hanging mainly in Oakland, and have put out a series of mixtapes that are influenced by their immersion in the Chicago-based footwork movement, something that I will post about shortly, as well as large dollops of ambient music. I found their mixtapes just as alluring as their Former Ghosts remix - see what you think below...

 
J+++ by birthplace

Former Ghosts tour with bloodlines Zola Jesus and Xiu Xiu in November.

*Upset The Rhythm put on the best shows in London hands down, and are amazing in their choice of eclectic music to put out. This is a London-centric viewpoint of course, but there really needs to be wider exposure on what these guys do.

Actual witchcraft, Fact!

"Fuck me this is dark! Holy shit this is good!" The most articulate opinion I've ever held of a record but I defy you to not agree after you listen to the LA Vampires & Zola Jesus E.P.

The side project of Nika Rosa Danilova aka Zola Jesus and Pocahaunted's Amanda Brown, it is gothic, psych witchcraft incarnate and the collaboration between Wisconsin gothic vibe and LA's tropical drone psychedelia is truly spellbinding. Brooding drone drenched beats, echoing rich vocals, its got it all. Think a trapped Sister Ray grinding you in dub-heavy voodoo hell and you've just started to get close.

Last night I was thinking that Not Not Fun have been quiet lately, oh how wrong I was 'cos they may have just put out the best E.P of the year. The LA Vampires & Zola Jesus EP is out on Not Not Fun as a 12 inch, limited to 600. I know I use the words 'depth' and 'dark' a lot but this slice of black wax has redefined the meaning of those words. You need this!

LA Vampires & Zola Jesus -Bone Is Bloodstone

Upset the Rhythm On A Roll This Summer...

We here at Sonic Masala love love love Upset the Rhythm. 2010 has already been a massive year for the promoters/record labellists, what with releases from Cold Pumas and Trash Kit, plus amazing live shows from TuNe-YaRdS, Trash Kit, Male Bonding, Vivian Girls, Dum Dum Girls, Xiu Xiu, U.S. Girls (UtR love their Girls...), Times New Viking, Crystal Antlers, Best Coast, Real Estate, Ganglians, Double Dagger... And I have glossed over a lot!

Well, the love is set to continue, with some amazing gigs lined up just around the corner. We here at SM endeavour to be at as many of these as is humanly possible - we implore you to do so as well! So whilst you plan your Bank holiday, why not plan your musical calendar too? And make sure to thank us when your mind is sufficiently blown away... And the ones in orange I'm already signed up for! So...what are you waiting for???

NEOHTRIX POINT NEVER
GOODIEPAL
GAOUDJIPARL
with possible special guest Amy Howden-Chapman
TOMUTONTTU
Monday 31 May Cargo, 83 Rivington Street,
Shoreditch, EC2A 3AY 7.30pm £9.00

WASHED OUT
SMALL BLACK
Tuesday 1 June Cargo, 83 Rivington Street,
Shoreditch, EC2A 3AY 8pm £8.00  

WOLF EYES 

BIRDS OF DELAY 

SPOILS & RELICS 

Wednesday 2 June Plan B, 418 Brixton Rd, SW9 7AY 

(2 mins walk from Brixton tube) 8pm £10.00

MI AMI (ex-Black Eyes) 

ISLET 20 JAZZ 

FUNK GREATS DJs 

Thursday 3 June Barden's Boudoir, 38-44 Stoke Newington Road, 

Dalston, N16 7XJ 8pm 7.00

THEE OH SEES
BRILLIANT COLORS
PLEASE
Saturday 5 June The Luminaire, 311 Kilburn High Road,
Kilburn, NW6 7JR 8pm £8.50

SIC ALPS 

DUCKTAILS 

ARCH M 

Tuesday 8 June Barden's Boudoir, 38-44 Stoke Newington Road, 

Dalston, N16 7XJ 8pm £7.00 

THE SMITH WESTERNS
SPIN SPIN THE DOGS
SEX BEET
Monday 14 June Camp Basement, 70-74 City Road,
Old Street, EC1Y 2BJ 8pm £6.00

TUNE-YARDS (5-piece band, one-off show!)
TRASH KIT
BRILLIANT COLORS
Wednesday 23 June The Scala, 275-277 Pentonville Road,
King's Cross, N1 9NL 7.30pm £10.00

GANGLIANS
PAUL A. ROSALES
PRIZE PETS
Sunday 27 June Barden's Boudoir, 38-44 Stoke Newington Road,
Dalston, N16 7XJ 8pm £6.50

WAVVES 

ECSTATIC SUNSHINE 

HYPE WILLIAMS 

Friday 23 July Cargo, 83 Rivington Street, 

Shoreditch, EC2A 3AY 8pm £8.50 

WILD NOTHING
WAY THROUGH
BECOMING REAL
Monday 26 July Camp Basement, 70-74 City Road,
Old Street, EC1Y 2BJ 8pm £6.00

ZOLA JESUS 

Wednesday 1 September Camp Basement, 70-74 City Road, 

Old Street, EC1Y 2BJ 8pm £6.50 

FUTURE ISLANDS 

Wednesday 29 September Camp Basement, 70-74 City Road, 

Old Street, EC1Y 2BJ 8pm £7.00

AND FOR AN EXTRA TREAT - HERE IS ZOLA JESUS' NEWIE!!! (Im so in love...)

Zola Jesus - Night from Souterrain Transmissions on Vimeo.

Zola Christ Pose

I love being struck dumb by a beautiful woman wielding the weapon of music. It happens on a fairly regular basis for me - what can I say, Im a romanticist at heart (...ahem...) Zola Jesus is my current favourite. The pseudonym for Nika Roza Danilova, also known for her cathartic work with Former Ghosts, Zola Jesus offers moody meanderings interspersed with shimmering atmospherics, booming bass drums and her iconic voice coming out of the ether. Her Stridulum EP is a cracker, a genuine step up from her two albums The Spoils (Out on Sacred Bones) and Tsar Bomba (on Troubleman Unlimited), both out last year. Zola Jesus - the siren that will lure my ship onto the rocks...

Zola Jesus - I Can't Stand It