A KLYAMMER’S GUIDE TO A MOUTH’S A MOUTH FEST PT. 2 (Sat. 10/8/15, Black Lodge)

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A Mouth’s A Mouth Fest Part 2 – no lofty goals of unifying a scene or showcasing the greatest talent in noise around these parts. Not quite. The idea is a fun, autumn afternoon into the night intimate, dank festival outside of the tame curated world of pop and rock musics.

PERFORMING @ THE BLACK LODGE….

(-1) – Featuring a cast of long-time Boston weirdos with band associations that’ll make any one who has been paying attention to this town’s heavy, loud, and experimental rock ‘n roll of the past decade, that’ll make these people perk up in joy. Members of Bugs and Rats, Particulars, Exusamwa, Needy Visions. Guess the people. Anyway, Feeding Tube Records just released their debut 7″ and its a screechy hardgory winner. (Listen)

ID M Theft Able – Storied sound artist from Maine – if you like to research shit beforehand, go ahead now and type in ID M Theft Able into YouTube and get ready to be transported. This performer need not any electronic get-up to perform his noise, though these aids may factor in somehow. (Listen)

Fat Shuggy – Chances are you have heard or seen one Fat Shuggy in some incarnation or another, perhaps in his solo habitat as entrail princess. Who, what, when, where, and why, all things we are trying to still figure out. The entrail princess is a bit like a beast trapped inside of something very small, trying to escape. There is not a traditional way out. Halloween’s approach makes all the sense for this one. (Listen)

Mike Mountain – New Bedford master of the theater of the absurd. Quite possibly the most unpredictable of this bunch – he can and has dabbled in whatever he damn well feels like. (Listen?)

Asher Tuil – Somerville scaper of the ambient, the lush, the spacey, he’s been at it for a good chunk of time,  even was written about in the Boston Globe a couple of years back. A strap yourself in, relax, and enjoy, experience. (Listen)

The Craters – Perhaps the most traditional group on this billing, the baby of Wes from The Channels, The Craters are a different animal than that ‘un, maybe in some spots comparable to the output of early Deerhunter, but with a penchant to explore deeper and more experimental realms. And with a prolific amount of homespun music on the web…you can endeavor to explore all of it! (Listen)

Orgins – New (art school?) kids on the block. Are they just messin’ with us? An ole fashion purposefully hellraising eyeraiser? Listening Man? We’ll give ’em a shot. Oh wait, they don’t take themselves seriously. Nice! JAZZY. (Listen)

G. Gordon Gritty – The man who destroyed music – me! And my band. Apparently our last performance at ZuZu was “tight” and “better than ever” — what will this one be? I just got back from Gonerfest, but I’ve been on a methaphorical Gonerfest since 2009. What? Okay, see ya. (Listen)

FAT CREEPS are BACK! Playing Lilypad This Friday (9/2); Released Two New Songs

@ Great Scott – 11/4/2012 – Photo By Papagiorgio


FAT CREEPS
are back!!!!!!! A brief history lesson for those who don’t know and some reminiscing for those that do: sometime in the year 2011, Gracie and Mariam from the North Shore of Massachusetts formed a band called Fat Creeps. Their first show was at Bangkok Paradise restaurant in Salem, Mass. FC earliest stuff is primitive, raw, no wave. Just some friends having fun was the vibe – whether wearing a helmet at the Elks Lodge in Cambridge or covering Louie Louie at the OAH Hall in Peabody (these were pre-KLYAM attending shows, by the way). And we picked up on that from the very first time we saw them at O’Briens. Which was April 13, 2012. I believe it was the band’s first show with Jim on drums. As Chris wrote:

” Kids need to hear Fat Creeps! Their energy and attitude is always present. I recognize some of the songs, which I want to point out as another trait that separates Fat Creeps from most bands I see: their songs are easily recognizable. I only had to hear some of the songs once for me to remember them tonight, a rare quality indeed.”

Thus began being super fans. If anyone recalls, four years ago, we went on a bender of their shows, seeing them every chance we could. Writing about each one on this very site. And others were taking notice as well; I remember reading an article about them on The Metro as I took my train ride to work. They self-released their debut EP that summer. This album blew us away and inspired us to start our own record label, KLYAM Records, to release it on 10″ vinyl. Around that time Feeding Tube put out a 12″ featuring “Dad Weed” and “Daydreaming.” In 2014, their first full length LP Must Be Nice came through via Sophomore Lounge.

Come to their first show since Fuzzstival 2014 — FRIDAY, SEPTEMBER 2, 10 PM, at LILYPAD in Cambridge!!!!!!!

FB EVENThttps://www.facebook.com/events/1589049528062353/

Oh and to stir up your excitement even more, the group has posted two new songs to their BANDCAMP. “IN LOVE” and “MAN IN THE WINDOW”. Check ’em out!!!

BOYS LIFE – EP – 1983 (SECO RECORDS)

1980s Malden mod youngsters BOYS LIFE put out a 6 song EP that I guess is not as obscure as I would have thought. I found this one in my dad’s collection and, like a non-digital age person, I was intrigued by the cover with its big text BOYS LIFE and image featuring lyrics in green font with a pic of a three piece band (drums, guitar, and saxophone) playing in the background. So true I was expecting some kind of chaotic noise inclined group, but instead they are about as MOD as it gets, colleagues of The Jam and maybe The Psychedelic Furs. That kind of very Brit accented, tight musicianship, and pop rock catchiness. The EP was produced by David Robinson, of The Cars and the Modern Lovers. What I’m guessing is that early 1980s was a fantastic time for this kind of sound. I am not surprised that my dad, a true Jam die-hard (his collection has at least a dozen of their records), picked this one up at most likely any number of local gigs these dudes played. And I just found, right now actually, a newspaper cut-out inside the record from I’m not sure from what outlet but it is called “Local Pressings.”  It is a glowing review of the EP that names the “recently broken up” Jam as big influences. 2006/2007 me would probably be much more a fan, now I’m spoiled and this sounds a little safe, but it is a record I can surely appreciate.

BIGBUCKHUNTER Playing Final Show? @ Grandma’s – Friday 5/27

Ye ole BIGBUCKHUNTER is playing their final show? tomorrow in the cozy confines of Grandma’s House basement. Yes, it does feel a little odd to call them one of the Boston underground’s most underrated talents because every one around here is a hidden gem of sorts until they selling out the Mid East Up or some shit. It’s not like BBH are incomprehensible harsh freaks, nah to me the chemistry of Kurt (guitar/vocals) and Couch (drums) and whoever is playing bass, that is like a Pavement sense of pop, but the craziness/unpredictability of The Hunches. Loose sloppy playing, but not in a way that me saying that is believable. We will miss our man Kurt, also of Cavemen and formerly KLYAM Recs’ own Miami Doritos (two of our faves), he’s moving on to somewhere new as Nobunny would say.

So once again it’s tomorrow, May 27, Grandma’s with The Buck and the perpetually recommended weirdos ‘newcomers’ BIRTHING HIPS, Steam Traktor, and Book Reef.

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Cinco De Mayo Recommendations – REQUEST FREEBIRD, TIFFANY’S HOUSE, BIRTHING HIPS

Its Cinco De Mayo, you’re slizzard, you’re supposed to play in Puzzle Mansion in a quick minute, but isn’t everyone? But you decide it is maybe best to sit back, keep sucking on the 16 OZ Bud Lite Limes and let your music community know how you really feel by recommending obscure Boston bands. Looks like the Hassle got hacked or something, so you’re left with KLYAM.

Let’s start with Request Freebird. I love Request with a lot of my heart because I always have hated solo acoustic acts. Request plays electric, and his songs chord-wise are easy to play and he makes it no mystery by posting what they are on his Bandcamp. But that is not important. I’ve heard “sad” tossed around, by the singer and his followers, but to me he speaks of realities, that blend his own subjective experience – walking to Korn concerts – with stuff that pretty much all us teens and 20-somethings and 50-somethings know a thing about. So all this shit, might make you think, well you are describing what you first said you hate. I’m not a sing-a-longer, or clap a long-er, but Request is the ultimate exception. Something about his performance and music in general is like a light switch turning on or a magnet, just very attracted to its simple, ultra modern story telling, of a guy who has been doing his own thing, perhaps very awkwardly, for years. My first Request experience was at Wicked Mess, but the essence of it all – the artist who has been called ACLU Benefit and Field of Sheep – is something I’ve witnessed many a time over the past couple years. We first met on the Orange Line coming home from a Halloween show at the Elks. Our most recent non-show meetup was in front of a Whole Foods and culminated at an unopened golf course.

Tiffany’s House – damn I wish Bandcamp had an auto-replay function or something, for stuff like this. Never seen The House, maybe this weekend. Kind of like a Request thing going on, at least for my interpretation’s sake. Very Bedroom but instead of guitars and ukuleles or whatever, The House seems to just work with a keyboard and voice. The song DIRT up on the ole BC is a SONG. Hilarious bizzaro existential/lonely lyrics, minimal Dream elements. A chill JANE LA ONDA , more stretching less rambunctious physicality. Choice material.

Birthing Hips – Is there a Band Like Birthing Hips? Not that I’ve seen, not for my money. A group that can do whatever and I trust in ’em fully. That tells you shit and I’m glad. Like I’m glad that I am suckering you into reading this and you see the name BIRTHING HIPS , and you think folk ? World music ? No, I don’t know anything about music. But I think they have their shit together. There are a lot of CHANGES, a lot of ””WEird”’ things going on that you don’t see in a typical four piece incarnation, But in that way it is Psychedelic. You can’t keep up. Carrie guides the way, and her band holds no prisoners. The unpredictable gets me everytime and I hope it gets U!!!!!!!

Angry Angles S/T – Goner Records (2016)

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Formal reviews won’t do this record any good; instead the notes on the sleeve that come from those closest to Angry Angles – Alix Brown (one half of the band) and Zac and Eric from Goner Records – tell the story of the band and this record better than any music writer will. The time frame is 2005, when Jay Reatard and Alix formed the band after the dissolve of Jay’s previous group, the synth heavy “dark wave” Lost Sounds. According to Zac, Angry  Angles were Jay’s “return to punk, in a way. Still raw, but now more focused, with a pop sensibility.” They recorded a few singles in Atlanta and Memphis over the course of two years and even got some studio time in Montreal before Gonerfest 6 that culminated in three songs previously unreleased until now.

Unfortunately I was not hip to Angry Angles (or any of Jay’s pre-solo bands) prior to his death in January 2010. But upon listening to Angry Angles shortly thereafter, I was blown away. Listen after listen, this group became most certainly an all-time favorite, right up there with The Reatards and The Lost Sounds, both of which I also had no previous exposure. What stood out to me, particularly, with Angry Angles is sure they were dark and robotic (like The Lost Sounds), but they were mighty concise and sharp. Hook after hook. Jay’s quick fire/angular guitar playing, quasi Brit vocal inflection, easily identifiable drumming, and fat production – trademarks of what would be his solo style take root here. But this was a dynamic duo and Alix and Jay were musically perfect for each other, often taking the heaviest/simplest moments of Wire and Devo soundscapes and modernizing them with the relentlessness of your neighborhood garage band. It seems like Alix challenged Jay-isms to a most positive affect, to me, most apparently on “You Lied” stuffed with a more traditional sounding bouncy bass line and some piano.

Angry Angles no doubt were the basis for the direction that Jay chose to pursue throughout his mighty solo discography from Blood Visions through his final LP Watch Me Fall, which features a tune I never would have guessed was by Angry Angles — “Can’t Do It Anymore.” In fact the final three songs on here, which I mentioned were recorded in Montreal (and not by Jay himself) with drummer Ryan Rousseau, sound very much like Jay’s solo stuff. His obsession with doing it all himself, as Alix writes in her blurb about the album, gives insight into why they never saw the light of day until now. There are no ‘weak’ songs on here, all memorable jams, and I am so thankful for Goner for putting together this album. It is strange to think that over the past six years many of these songs like most of Side A and the first half of Side B have been so influential for me and I have played them over and over, if only via YouTube or a WFMU session. I’ll always say it and I know at least some others agree, the rock ‘n roll that came out of Memphis in the span of four years – 2005 to 2009 –  is simply the best. Angry Angles, The Barbaras, Girls of the Gravitron, Boston Chinks, these are my favorite groups NOW. Back then I didn’t know such wonderful raw stuff. I was a teenager from Boston, MA, listening to The Strokes and The Libertines, damn was I missing out on the real good stuff, most of it coming from Jay and his adjacent friends and cohorts. I hope this record might incite or re-ignite passion, because Angry Angles and a healthy chunk of the Goners left (and still leave) an impact on me.

OPENING NIGHT – RAMA LAMA DING DONG – 4/28 – CLUB BOHEMIA

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Back in the day we used to have “Hopes and Expectations” before highly anticipated shows featuring our slimy favorites. With the Rama Lama Ding Dong, the theme surrounding it is the ultimate local show that we would want to see TIMES THREE. We are grateful to be curating an experience featuring bands we consider EXCITING performers in garage, noise, punk, surf, Rock and Roll.

Opening night is Thursday, April 28 at Club Bohemia in Central Square, Cambridge. Love it or hate it, we are in the former camp and have held several fun KLYAM shows in this dank basement of the Cantab Lounge.

To kick off the festivity, KLYAM will be DJ’ing starting at 8 PM. What will we play? Ass shakers, maybe some Jandek, sure maybe some Khan, some singles from the early 1950s.

My band and I, G. Gordon Gritty, will be starting things around 9 PM. I’m not a musician, we’ve never all together played in the same room and my last gig at Bohemia we cleared the joint of aging Rockers until all but Mickey Bliss remained. Come check it out!

Next up will be Mike Mountain. I met Mike in New Bedford, his glorious hometown, about one year ago. He is joyously unpredictable, confidently moseying the musical vernacular like a guy who owns 20,000 records and favorite band is The Thinking Fellas Local Union 282. Whatever form Mike strolls to town in, it will be somethin’.

Third on the dusty billing is Andy California, perhaps the only musician who is awarded pre-arranged accommodations at the incensed Bohemia Club.  Dude recently toured Europe and yup is THAT guy from The Monsieurs and Mardi Kings. In the California incarnation, he’s strumming away – bluesy stomps – and guess what you better be payin’ attention because he swirms and swims amongst the vulnerable crowd. Not some passive pensive slinger, Cali is the look you in the eye, real deal.

One, two, three and four – Second Becky. What do we know about Second Becky? It is a band coming courtesy of Victoria from GRAVEL. A two piece. What else do we know? We know it’s a band we ought to check out, a band you ought to check out. Find out more at the show!

HEADLINING are the heavies, the behemoths of the every second is a celebratory noisy freakout FUNERAL CONE. The hardest of cores playing the Ding Dong, we’ve been wanting these cats on a KLYAM show for a while and what better occasion than this, bringing this wicked evening of craze to a close.

Come early, stay late, you know. 21+. $8