Wolf Eyes, Black Wing Over the Sand
2007, iDEAL Recordings
I once read in an interview with Ben Chasney that he envisioned Six Organs of Admittance's 2006 album The Sun Awakens to be an audio experience akin to Alejandro Jodorowsky's bloody zen spaghetti western epic El Topo. Well, if Six Organ's The Sun Awakens evoked visions of El Topo's savage desert space and mystic grandeur, then Wolf Eyes' Black Wing Over the Sand is more like some imaginary El Topo 3000, where the Mexican cyborg gunslinger hero doesn't even get a chance to rot before his failing body is picked clean by a flock of monstrous, mechanical vultures. Wolf Eyes have often managed to churn up visceral images of bio-horror and organic decomposition with their mass of homemade oscillators, decaying tape loops, synapse-frying saxophone, and a whole other manner of instrumentation traditional and jerry-rigged alike, and Black Wing Over the Sand, not unlike the recent "official" Sub-Pop release Human Animal, continues to confuse sound sources both organic and electronic into a seamless hypnotic horror with frightening prolificacy. Released on Gothenberg, Sweden's iDEAL Recordings, Black Wing Over the Sand is spread out over two sides (or two tracks, if you've got the slightly-less limited cd version), with each track just breaking the seventeen-minute mark. Side A begins with some electronic detritus, squealing tapes, a screeching loop (the vultures begin to circle), and a gaping chasmic synth drone that'll set your head to spin and stone. Side Two is essentially a continuation of the first, featuring similar stretches of undulating rhythms and sonic shrapnel that should please anyone familiar with the Wolf boys at this point in their career, but should also provide a more accessible jumping point for anyone who shied away from Human Animal's more intense, concentrated miasma. Black Wing Over the Sand is not entirely essential, but it's endemic of Wolf Eye's current musical direction, and I for one can't wait to hear what they cook up next.
Lambsbread, Stereo Mars
2007, Ecstatic Peace!
Stereo Mars is the latest semi-ultra-limited (that's 500 copies brothers and sisters) release from Lambsbread, a trio of Ohio-based Harry Pussy lovers who rip into righteously distorted free-improv instrumental hardcore in the polluted, lo-fi vein of Husker Du's Land Speed Record, or the aformentioned Harry Pussy's infamously titled In An Emergency You Can Shit On A Puerto-Rican Whore. Still, any apt comparisons between Stereo Mars, or any selection from Lambsbread's rapidly growing discography, becomes pathetically null and meaningless given that the greater majority of 80's hardcore goons performed songs which gave up the ghost after a minute at most, Lambsbread allow their sonic spasms some space, spreading out the skree out for nearly fifteen minutes on both sides, without barely pause or reflection. Guitarists Zac Davis and Kathy O'Dell inspire feedback spiked freakouts and total fretboard-fuckery in ways that haven't been pulled off successfully by any player in the post-Thurston world, and drummer Shane Mackenzie provides an element which balances Lambsbread's transcendental thrash with raw percussive power. Prior to checking this lp out I'd heard nothing but good things about Lambsbread, and given my fondness for Harry Pussy styled free-noise, Stereo Mars did not disappoint.
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