BARRIO MUSIC

 

This is probably the coolest Barrio Music volume I've delved into so far, which makes me excited to keep plowing my way through the twelve tape series. Anchored by undeniable classics by ELVIS PRESLEY ("Now Or Never"), ? AND THE MYSTERIANS ("96 Tears"). LITTLE RICHARD ("Good Golly Miss Molly") and JERRY LEE LEWIS ("Great Balls Of Fire"), you've also god JAMES BROWN's deadly ballad "Try Me" and "Doing It To Death" by FRED & THE NEW JB'S (a song I always thought was actually by The Godfather Of Soul). And then there't the other stuff....GENE & EUNICE, LARRY WILLIAMS, MANHATTANS, PEACHES & HERB, even PAUL fucking ANKA delivers a killer. A standard from THE PLATTERS and a smooth as fuck track from the suitably named DON & JUAN round out the roster and.....my people this is just a perfectly curated mix of perfectly wonderful music. Like, can you think of a better way to end your week?

BARRIO MUSIC vol.4

TIME ADDICT

 

Free form improvisational misanthropy, presented as experimental free jazz noise shit.
And some days all I ever want is cacophony. 
TIME ADDICT delivers (again). 

U.S. BLUES

CONTRASESSION

 

The early 2000s were fukkn magic - so were the early '90s of course, and I guess the adolescent twenty-tens didn't suck either. I focus on today on the aughts though, because posi-political-hyper-fastcore took over the fukkn world and holy shit it was fun. You could argue that 2005 was on the back end of the shit, but try telling that to these Indonesian motherfukkrs. "Awas Prosess"personifies a tape filled with twenty three sub-60 second rippers culminating in the brilliant "The Only Time I Think About Romance Is When I Wonder Why I Don't Think About It." So here's to the tape you didn't know you needed until now....I guess I drop a lot of shit like that in your lap, huh?

LIDAH BERBISA...

Notable: "Topeng" kinda starts off like "Deny Everything" from a different universe.

GERINC

 

In this shit world, can we please celebrate Hungary for a moment? No one is ever going to accuse Magyar of being righteous, but damn that was a glorious rejection, right? Anyway, GERINC take snappy '00s USDIY and make it sound....theirs. Talking RED DONS and MARKED MEN and NEON PISS and shit, but a little nastier. Maybe like NEON PISS if they had existed in this modern reality. Every hook will stick with you, even though "Constrangimentos" kinda stands out as the song of the century (kinda) . So yeah, let's talk about Hungary for a moment, but maybe fuk the politics and let's talk about punk bands. I'll start: GERINC. Your turn.

REKLAMÁCIÓ

PSYWARFARE // BBVGC

 Not to be confused with the recent P.S.Y.W.A.R. post, this is Dwid's PSYWARFARE sharing destruction duties with Japan's BBVGC. The latter takes the BLOODY MINDED hardcore-as-noise-as-hardcore approach and makes it spooky and theatrical while the former....well, I can't speak on the world of Dwid but I recognize that it's a world. And I respect that he has been doing the shit for three decades (plus). And "Evisceration" is a perfect mind-melt of erratic power electronics, harsh noise and deliberate constructions of desperate sound. If you're looking for something to fukk up your day, then look no further. 

DEMONS MOURN FOR BLOODSHED

12 APRIL 1986

 

Welcome to the first ninety minutes of forty years ago today as broadcast on KALX in Berkeley. 
========

Proto-industrial heavy broadcast with some old 'MATS, some oldies, BIG BOYS, STURM GROUP and a shitload more sounds that you need. 

KALX - 12 APRIL 1986

مارتیک // ضیاء

 

It was probably a decade ago when I talked to Golnar about writing a thing about this tape because I thought it was cool (like...really cool) but didn't know shit about it and she was a music nerd and a Persian scholar and she already knew all about it so why would you want to read my words when I could solicit hers? Exactly. Fast forward to now and we've fallen out of contact but I'll be damned if these sounds don't (still) slap like some Ethiopian jazz meshing with those sounds that you don't understand except to know that you want to understand more than you do. Freak funk with dense horns and Mid-eastern trad funk and I am literally crying thinking about the multitude of realities that this music represents. I'm pretty sure that Ziya (exiled after the 1979 revolution) was in Los Angeles when this was released in 1987, a collaboration (maybe...? paging Golnar) with fellow ex-pat Martik Khanian who was apparently in Los Angeles when this recording was conceived. 

This current reality is light years beyond heavy, and imagining a rich culture and fascinating country ripped apart twice in the span of a half-century brings on more feelings than "طلوع ا زمغر" ...and that shit is ten minutes of pure sonic gold. Submitted with apologies, because I wish I could sa the right things.

کفریم / دیوونه / هلل یوس