The Perlich Post

Wednesday, May 4, 2016

T.O.'s Doomsquad launches Total Time @ Smiling Buddha, May 14

What began as a lark for Toronto's Jaclyn, Allie and Trevor Blumas is quickly becoming an international concern.  

Here's the press release for Doomsquad's new Total Time album...

Having formed in 2010, siblings Trevor, Jaclyn, and Allie Blumas soon began to explore trance and electronic beat making. Their shared fascination with dance culture, rhythm, and the unknown, along with their lifelong immersion in the arts, began to manifest as a collective ethos. Before long, DOOMSQUAD had mushroomed into a full-scale art project.

Inspired by some of their favourite artists — Georges Bataille, Richard Tuttle, Tanya Tagaq, and Genesis P-Orridge — Doomsquad travelled to the New Mexican desert to write and record Total Time (Hand Drawn Dracula/Bella Union), creating dark, pulsating beats interspersed with hypnotic, incantatory jams. 

The album opens with the enticing dance of ‘Who Owns Noon in Sandusky,’ which was written to inspire the nakedness in us all, a song to wake up our inner clocks and reclaim our circadian time. ‘Solar Ass’ was written as a love song to a donkey, a song for paying respect to the smaller, under-appreciated elements that carry us through our contemporary lives. The songs on Total Time are meant to lead you through a genderless experience of transition to owning time, losing time, and becoming timeless, while providing a platform for you to dance through your consciousness.

Upon returning home from New Mexico, the band continued to draw inspiration from the Toronto arts community, which is vast but also extremely supportive and close-knit. Their friendships and connections led to some fortuitous collaborations, including one with Canadian avant-garde legend, Mary Margaret O’Hara, whose otherworldly vocals grace ‘The Very Large Array.’ The driving, dirty bass lines, and analogue layers of effects come are contributed by Graham Walsh of Holy Fuck, who produced and mixed the album.

The record features a number of other contributors: Mike Haliechuk of Fucked Up plays guitar. Industrial noise experimenter David Foster aka HUREN offers vocals on ‘Russian Gaze.’ Colin Fisher and Brandon Valdivia of free-jazz duo Not the Wind, Not the Flag bring instrumentals. And galactic twins Josh and Jesse Hasko, who perform as North America, are a crucial part of Total Time as well. Over the years, the connection between DOOMSQUAD and the twins has deepened and this summer they’re joining forces: the Haskos are becoming members of DOOMSQUAD’s live act, which will take it further than it’s ever gone before.

Doomsquad's Total Time is out now on Hand Drawn Dracula and Bella Union. Watch the new video for the dancefloor-aimed electro jam "Pyramids on Mars" followed by  "The Very Large Array" featuring the vocal magic of Mary Margaret O'Hara below. 

Tuesday, May 3, 2016

Bob Mould Band @ The Horseshoe, Tuesday & Wednesday

Bob Mould presents Patch The Sky along with some other pleasant tunes in a two-night Horseshoe stand.

"Here’s the deal. In 2012, people loved Silver Age (to a degree that surprised me, pleasantly), likewise Beauty & Ruin in 2014 (despite the heaviness of the subject matter, which I thought might be a bit alienating… apparently not. Another pleasant surprise).

"But Patch The Sky is the darkest one.

"After the Letterman performance in February 2015 where “dust fell from the rafters,” it would have seemed logical to go the punk rock route—an entire album of two-minute songs—but that wasn’t where my soul was at.

"I withdrew from everyday life. I wrote alone for six months. I love people, but I needed my solitude. The search for my own truth kept me alive. These songs are my salvation.

"I’ve had a solid stretch of hard emotional times, and thanks for the condolences in advance. I don’t want to go into the details—more death, relationships ending, life getting shorter—because they’re already in the songs. Just listen and see if you can fit yourself into my stories. The words make you remember. The music makes you forget.

"But Patch The Sky is also the catchiest one.

"I always aim for the perfect balance of bright melodies and dark stories. I’ve used this juxtaposition for years. This time, I’ve tuned it to high contrast.

"The first side of the album is generally simple and catchy. The second side is heavier in spirit and tone. Opposing forces and properties. I love both sides of Patch The Sky.

"At the core of these songs is what I call the chemical chorus—you hear it once and your brain starts tingling. The heart rate picks up. It gets worse—you know it’s coming again and you can barely stand the anticipation. Then, the beautifully heartbreaking bridge appears, and you’re all set up—hooked for life. Music is an incredibly powerful drug. I want to be your drug dealer. I have what you need."

— Bob Mould

Happy Birthday Conny Plank

Remembering Conny with a discussion of his work and part of his Duke Ellington collaboration from 1970.

Monday, May 2, 2016

Buena Vista's Eliades Ochoa joins sister Maria Ochoa for Guajira + Mas Guajira

For the latest album from Buena Vista Social Club keyman Eliades Ochoa, the Santiago de Cuba-born master of the tres and cuatro has teamed up with his sister and long-time collaborator Maria Ochoa for Guajira + Mas Guajira (Tumi Music) – an exploration of their shared musical heritage with the support of Cuban band Alma Latina. A two-year labor of love, the album chronicles Ochoa’s lifelong fascination with guajira music, Cuba's answer to country.

Far from an academic exercise or some misguided nostalgia trip, the former Cuarteto Patria mainman puts his own spin on guajira, borrowing freely from Afro-Latin styles to enrich his repertoire, with the ease of a seasoned veteran who understands the tradition from the ground up. Elegant guitar and string work combine with the Ochoas’ gritty, endearing vocals, with bluesy blasts of electric guitar, Caribbean hints, and the pulse of Latin percussion.

“Together with Buena Vista Social Club, this album is one the most important and interesting recordings of my life,” says Eliades Ochoa. “Alma Latina is an inspiration and an expression of art, music, painting and dance. It is a call to bring harmony and love through music to all human beings and Latin brothers. And it’s about the dance,” an element that runs through every charming track on the album.

Maria Ochoa remembers sitting with her brother as a young girl. He would play some tunes on his battered guitar, and she would swing in the hammock and sing. They both grew up surrounded by song and tres playing, thanks to their musical family, farmers in a small town in Cuba’s mountainous, rural east. They grew up steeped in Cuba’s country sounds and both grew into riveting performers.

From those halcyon early days, Eliades began to rethink tradition and, with time, to make a name for himself. He added strings to the tres, developing his own playing style. In the 60s, Ochoa got a standing gig playing for the Santiago de Cuba radio station, with its rural audience. He started his own groups and won a coveted spot at the Casa de Trova. Eventually, the venerable Cuban musical institution, Cuarteto Patria, asked Ochoa to join.

Ochoa has never bothered to do what was expected of him, however. Instead of simply agreeing, he insisted he should lead the ensemble. And though he specialized in the rustic, bittersweet sounds of the countryside, Ochoa began to weave more cosmopolitan sounds into the group’s work, adding a touch of tango and bursts of brass, as well as encouraging his new band to incorporate trova and son into their performances.

The dialogue with his sister, one of his first musical collaborators, has a winning naturalness, a warmth that invites the listener in. Maria is a formidable Latin music force in her own right. She often played with her brother during his early Santiago days, but really came into her own in the late 80s, playing with Rubén González, Gloria America, Mario Patterson, Sonera Edition, Tierra Caliente Caribe Typical, Los Kinis and The Achala Group. She began touring the world with other Cuban heavyweights, including Buena Vista alums Omara Portuondo, Ibrahim Ferrer, and her brother Eliades, when not cutting her own albums. Last year, she joined Alma Latina, directed by rising star Julio Montoro.

Together, the sibling team and Alma Latina touch on the melancholic yearning of rustic Cuban sounds, then hit hard with upbeat irresistible Latin dance numbers. It’s a celebratory collection of performances lovers of Buena Vista will instantly fall for. Many music fans outside the Latin world may not know they love guajira, the style that animates the album, but chances are they already do. From “Guantanamera” to the Wailers’ unexpected ska take on the style, the music has infiltrated global pop.

“Cuban music has a certain feel, that sway, that harmony,” reflects Eliades. “It can get right to the heart and the soul, no matter who you are.”

Happy Birthday Link Wray!

Remembering the great Link Wray with his "lost" Cadence recordings from 1958.

Sunday, May 1, 2016

Whaddya mean you don't know Krakatau

Watch Dylan Lieberman, James Tom and Charles Sexton play the epic "Riddells Creek" off Water Near A Bridge.

Your first look at Raymond Pettibon's new book

You can order your copy of Pettibon's 692-page Collected Works from the publisher David Zwirner Books