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VAMPIRE BLUES

Fuck

The Band

    Presenting fuck’s first new record in over ten years, the band, on Vampire Blues! In the mid-’90s to the early aughts, fuck was releasing a new record every other year and touring constantly while jumping from label to label. Then, with nary a warning, they up and disappeared. No note, no nothing.

    Skip forward a generation and it’s revealed that they’ve been spending all these years meticulously sculpting the most impressive album of their career. Recorded in fits and starts and all over the map, from basic tracks in San Francisco to overdubs in Italy and mixing in Memphis, the band comes through with a surprisingly cohesive sound; though, like their six previous studio albums, the genrebending and boundary-pushing song-writing continues. Any lesser band would have destroyed all sense of spontaneity going this route; not fuck. The casual off-thecuff attitude remains, but now with added depth and clarity. The highs got higher, the hard hits harder. And it only took ten years!

    Fuck

    Baby Loves A Funny Bunny - 21st Anniversary Collectors Edition

      For fuck’s 1996 sophomore release, the band got sophomoric: the playing got more playful, and the lyrics got more nonsensical. Yet, from late-night confessional “Swinger” to the bare-boned sigh of “Whimper and Cry,” the band still embraces languor and melancholia. Unlike the band’s even-handed debut album, Pretty... Slow, this batch of songs careens multi-directionally— toy piano and baby grand! “Rococo” pops, “Tired” rocks, “Loosened Mind?” ups the weird, and “Talent, OR” goes full CinemaScope. From realizing “I am almost like a girl” to the hope that “black and white will soon be brown and gold” on their ode to Neil Young (“Ballet High”), the future of identity politics is nailed in 2:27. Think Jonathan Richman’s whimsical sincerity battling the obfuscation of Erik Satie: Baby Loves A Funny Bunny imbues both yin and yang. Schizo? Maybe. Let’s call it delightfully unpredictable.

      FORMAT INFORMATION

      Ltd LP includes MP3 Download Code.

      Spectre Folk

      Vol. 4

        “Spectre Folk’s latest Vol. 4 evokes history and journeys, both in leader / main songwriter Pete Nolan’s travelogues of places and experiences around the world, and in the band’s reverential nods to musical history / tips of the hat to psych-swirlers of the past. Their first full length since 2012’s Ancient Storm, Vol. 4 heaps more generous servings of layered, lavalamp-drip guitars, lethargic riffery and choogling sunstare moments both epic and subtle. Nolan, now relocated to South Carolina these days, still directs his song energy through and with a band of prime players: Aaron Mullan (Tall Firs / Hallogallo), Mark Ibold (Pavement / Dustdevils), Peter Meehan (Lucky Peach zine) and Steve Shelley (Sonic Youth), who despite geographic distance still churn out a cohesive and gorgeous collection of inventive and expansive sounds. “Begin the Mothership” creeps in with drifty vibe and imagery of the 13th Floor Elevators’ guitarist Tommy Hall in his trough days praying to a Mickey Mouse poster on acid in San Francisco, slowly giving way to an avalanche of cosmic guitars, while “Golden Gooj” revamps a more barren tune from an old Spectre CDR release into a watery raftride down a slow river with Michael Rother’s flanged electric guitar leading the way. The easier-going moments of Spectre Folk circa-2017 offer among the most colorful and rich highlights of this new outing. “Bremsstrahlung” evokes some delicate David Crosby guitar work adrift on a bed of hazy sunset drone, while Shelley’s propulsive drums lead the way through the heavier burners of the record, “Action Ray” and “We’re So Tired,” the latter a frantic melange of Here Comes The Warm Jets-style humidity and wah wah splatter. A sonic celebration of good wine, sunlight, wanderlust, and players whose kinship and shared vocabulary move this latest spectral event into the zone of bliss.” - Brian Turner, WFMU.


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