Tuesday, November 17, 2009
After an appalling badly wriiten review of the rice corpse album in which the reviewer constructs his entire piece by misquoting my pig fucking reference (i was describing my role in Kevin Blechdoms Slobbersville and not my music you idiot) in the previous issue, the WIRE have found a reviewer that can string a sentence together with a review that suggests he actually bothered to listen to the record, amazing!
take a listen for yourself this record rules although we do agree in one listen its a punish!
alternatively i reckon its a great childrens record and will keep your little ones entertained for hours try one on them for christmas!!
Thursday, October 29, 2009
Yogyakarta’s Zoo’s successful concoction of its punk rock roots with a seasoning of traditional music elements makes them a beacon of the Indonesian Underground. Their debut album, Trilogi Peradaban (Civilization Trilogy) is formed by three distinct movements forged from sessions conducted in 2007/08, tracing the bands fast evolution from the Ruins-esque proto-punk of Neolithikum (New Stone Age) and Mesolithikum (Middle Stone Age) to the spontaneous folkish neo traditionalism ranting of Palaeolithikum (Old Stone Age). With 22 tracks ranging from dissonant math-rock expelled in quick Melt Banana like successions to acoustic shamanistic vocal uttering’s produced with the Skeletal framed lineup of drums, bass and Jembe, all lined with the deft vocalisations of Rully Shabara Herman telling a story of the deterioration of cultural roots in modern civilization.
pre sales available now from our site
check out these previews curtesy of WMFU's free music archive
Sunday, October 11, 2009
AVAILABLE NOW AS DIGITAL DOWNLOAD OR CD FOR THE FIRST TIME OUTSIDE OF JAPAN.
Dokaka, is a one manned voice, no effect, no auto-tune, no edit, no sampling, DIY human synthesizer. Most will remember him as the Japanese beatboxer whose vocal only reinterpretations of Led Zeppelin, Slayer, the Rolling Stones, and many others gained cult status when his mp3’s went viral. The sensation was enough to attract the attention of Björk who incorporated his unusual skill into her 2004 Medúlla album. Now in 2009 Dokaka has recorded his first album of original material ‘HUMAN INTERFACE’ which is now available for the first time outside of Japan courtesy of cultural maverick imprint dualpLOVER. The album includes 17 hours of vocal insanity multi-tracked into 88 muttered micro tracks.
Dokaka’s style is unlike that of the hip hop beatboxers, firstly he’s not really a beatboxer as he multitracks his vocals sometimes with as many as 20 passes per song. However the most important distinction is Dokaka’s intent. Without a Hip Hop background he first started vocally mimicking music while humming along to his television as a child and by the age of six was making tapes of his efforts. These childhood skills almost went unnoticed until he starting playing drums with bands as a teenager. During one practice after the bass player failed to show up, Dokaka filled in by humming the bassline. The singer was so taken with his vocal ability he encouraged him to record which lead onto his mp3’s / Björk and now this album.
"this is the evolution of beatboxing, a one man barbers shop quartet attacked by a rubber lipped banshee"
-BobBakerFish, Inpress Magazine.
review of SUCCES PLANETAIRE INTERNATIONAL in the big take over by Paul Lemos:
SUCCES PLANETAIRE INTERNATIONAL
(DUAL PLOVER RECORDS)
With their third album, this French duo has created their richest, most
intricately arranged music, rife with musical surprises. Marylise
Frenchville’s agile drumming and urgent torch singing, supported by Eric
Boro’s nimble, dynamic guitar work recalls the Spartan intensity and
virtuosity of another mighty French band, Etron Fou Leloublan.
Vialka’s wildly unpredictable compositions, full of unexpected twists
and turns, combine elements of folk, prog rock, improvisation, jazz and
cabaret within the group’s own eccentric, distinctly European aesthetic.
Enhanced by a handful of guest players and Bob Drake’s able production,
“Succes” is another fascinating chapter in Vialka’s creative
Wednesday, September 9, 2009
The newly reformed australian line up of rice corpse featuring peter kostic (hard ons) on drums, stu olsen (rand and holland) on piano and lucas abela (justice yeldham) on glass will be playing at dirty shirlos on friday with captain cleanoff, nunchuka and hizzetin.
Tuesday, July 28, 2009
PURPLE DUCK – Duckside Of The Moon Monday, 20 July 2009 (Dual Plover)
Form of a duck
Purple Duck is the best MC in the world and I know this because in his opening track I heard him warble a statement to that effect down a cheap microphone in a voice halfway between that guy from Ween and a Muppet while carnival music played. It may be a slight exaggeration, but he is pretty funny. His song about being bored contains a litany of inventive expletives as well as lines comparing the depth of his boredom to time spent with Ken Done’s paintings and Garfield. The songs are broken up by skits with names like Sex Falcon and Cunt Dracula, which probably tells you everything you need to know about them right there. He parodies cock-rock (the very MGF-sounding Love Tampon), exercise anthems (the Trey Parker-sounding Get In Shape) and maybe techno (Do You Want To Dance All Night). I honestly can’t tell with the last one whether it’s a joke or not – maybe that’s the joke itself, that it’s impossible to tell the repetitive parody from the real thing. When A Woman Cries doesn’t sound like a novelty song either, instead coming across like one of those Trash-era Alice Cooper weepy pop-rock epics with the big ’80s drum kicks, and doing a surprisingly perfect homage to them. In between he raps about booting the other ducks out of the pond, but he’s not so much a duck as a chameleon, able to transform himself into anything from Bauhaus (Rock Vampire) to Captain Beefheart (You With The Bear) at will.
Saturday, June 20, 2009
Check out the current issue of the wire, it has a nice 1000 word piece on dualplover's founder Lucas Abela wriiten by none other than the Dead C's Bruce Russell.
Also check out.
for free exclusive to the wire downloads.
Justice Yeldham's "March Of the Bodypumpers" Abela's first studio effort since cicatrix.
"The Imperial Family Reigns Supreme Pizza" and "No Penis"
free improvisations by Rice屎Corpse (outtakes from the Mrs Rice album sessions that didn't make the final cut) with Li Zenghui on piano, Yang Yang on drums and Lucas Abela on glass.
Wednesday, June 17, 2009
It’s the work of Sydney based lunatic glass blower and noise extraordinare Lucas Abela, who if the press release is to be believed briefly became a cultural ambassador to China, spending two months in Beijing found pianist Li Zenghui (who is actually a saxophonist) and percussionist Yang Yang, jammed with them a few times and then dragged them into the studio for this monstrosity. It’s the funniest most visceral and compelling music this writer has heard for a very long time. At times Abela feels like he’s sabotaging the aforementioned plink plonk, tearing it apart with his aggressive howls, other times he sounds like some kind of wounded inhuman animal growling irritably whilst the piano and percussion rain down around him, then there’s the moment where it all coalesces into the adolescent noise frenzy that is spirited and unrelenting, a charging jam that you could only imagine as the sound of the apocalypse. Perhaps what I find most fascinating about Rice Corpse is how the trio don’t sound tied down to any particular form of improvisation as is so commonly the case. This may be because Abela’s contact mic’d glass through distortion pedals produces such a unique, and I would imagine quite difficult to play along with, sound, but really I believe it has a lot to do with the musicians desire to pull something quite unique out of the box. At times it’s quite musical, even positively melodic, at other times the humour comes from the ludicrous ill fitting nature of this trio, yet then it all becomes quite hysterical, pushing you to face head on, the joy, freedom and possibilities of experimental music – rubbing your face in it over and over again, until you just want to be left alone. Genius.
Bob Baker Fish
Tuesday, June 16, 2009
SYDNEY PREPARE FOR THE HAPPY NEW FINANCIAL YEAR
PARTY PARTY PARTY!!!!!!!
FEATURING LIVE LIVE LIVE
CURSE OV DIALECT
THE PROFESSIONAL SAVAGE
BED WETTIN’ BAD BOYS
JUSTICE YELDHAM YELDHAM YELDHAM
BAMBI AND THE BAMBIS
BOG BOG BOG
AND THE UTTERLY CRAZY PRICES OF THE
DUALPLOVER LABEL AND DISTRIBUTION’S MASSSIVE
STOCKTAKE SALE SALE SALE
PRICES STARTING AT ONE DOLLAR FOR VINYL AND CD’S
ALL THIS FOR A MERE TEN DOLLARS ENTRY ENTRY ENTRY
COME WITH FREE CD OF YOUR CHOICE FROM THE DUALPLOVER DISTRO MUST CLEAR BOX!!!
30TH JUNE AT LA CAMPANA CAMPANA CAMPANA
FOR MORE DETAILS VISIT THE WEBSITE
DUALPLOVER .COM COM COM
Monday, June 8, 2009
Our countries most favoured MC, the handsome drake known by his adoring public as the Purple Duck, has decided to bless the east coast with a celebratory tour for his long awaited debut album ‘Duckside of the Moon’ recently released by dualpLOVER recordings. The Maroon Loon will be dispensing some of his ‘implausible vocal dexterity’ on the road this june / july flocking together the most motley mob of hip hop artists ever assembled in this country, for simply the best packaged deal you will ever be likely to hear.
Joining duckmania are a crew of wogs known as Curse Ov Dialect, who are nothing if not an anomaly on the Australian hip hop scene, their non-homogenized tapestry of world music and hip hop sensibilities fused with a costumed show of unrelenting energy makes for a very interesting time indeed.
And then we have the professional savage who taps the jugular of hip hop bleeding from it everything you once held dear. This Mexican with a distinct distaste for white Australia will make the Caucasians in the house say ‘SQUIRM’ while raising the roof on our countries genocidal history and present.
Together these three acts are the vanguard of experimental hip hop in this country their humour, joy and dread offer varying perspectives on life, its hip hop son, but not how you want it.
curse ov dialect
the professional savage
duckside of the moon launch tour june / july
Tuesday 30th June.
dualpLOVER's Happy New Financial New Year Celebration!
La Campana, 55 Liverpool St, City, from 9pm til Late., $10
Wednesday 1st July, Croatian Club
Friday 3rd July
Winsome Hotel, 11 Bridge St.
10pm to midnight
Saturday 4th July, 8pm, start $10.
‘The Decline Of Modern Civilisation’ @ Step Inn (front bar),
Cnr St Pauls Tce & Brunswick St, Fortitude Valley
DJ Potato Masta
Saturday 11th JULY
+ Pig + Machine, Ultraviolet MC vs. KT Spit, Aoi
303, High St, Northcote, $7/$10, 8pm Start
Wednesday, June 3, 2009
Q:Look carefully at the following sentence and see if you notice anything special about it:
“The quick brown fox jumped over the cunting dog.”
A:This sentence is famous for being possibly the shortest and most easily understood sentence in English that uses almost all the letters of the alphabet. The missing letters are l, a, z, and y.
Available now at the dual plover store for the princely sum of AUD$5 (you can't even buy a sandwich for that much)
Friday, May 29, 2009
The first thing that you hear on Succès Planétaire International is what can only be described as a folk waltz riff being played by a tuba. This is the first thing that confused me. I don’t think I’ve ever heard a tuba being used on record. I guess there’s a first time for everything. The next thing that threw me was the drums and guitar. This is where the motto of “more rock, less talk’ comes into play. The drummer scatters around her snare drum and hi hat recalling the precise, syncopated style of Battles’ John Stainer, whilst the guitar plays a descending riff that wouldn’t sound out of place on a Fugazi record. Over the course of six minutes, Vialka twist and turn their way through four different time signatures, numerous stops and starts and at least three different musical styles. As odd as it is to compare a folk band to Battles, it’s not that far off the mark. ‘Good Riddance’ again showcases Vialka’s tendency towards intricate rhythms, with both guitar and drums showcasing restrained yet complex riffs, fusing both folk music and math rock seamlessly. Like a cross between Battles and Gogol Bordello.
World music is often seen as a dirty word, a genre with slight returns at best. On Succès Planétaire International, Vialka have proven not only that world music shouldn’t always be disregarded, but that you can produce interesting and thought provoking records under its umbrella, without sounding like one of those terrible bands that always get booked for Later With Jools Holland. Just remember: “more rock, less talk.”
by David Pott-Negrine.
Thursday, May 28, 2009
SO the stories are all true, we have been in negotiations with the legendary japanese beatboxer dokaka to release his new album human interface outside of japan. For those of you who have been living under a rock thats buried far far underground dokaka is the king of multi genre beatboxing having covered versions of everything from slayer to miles davis to computer game themes through his own inimitable multi tracked beatbox style. He also appeared on bjorks medulla album amongst other things. Due for release sometime in the next couple of months pre orders available soon.
Tuesday, May 26, 2009
Although not a dualplover release thought i'ld post up this great review to naked on the vagues latest single chitty chat on the australian music focussed mess and noise site.
Naked on the Vague
2 Track, 7inch (2009, Sacred Bones)
It’s not every band that you can swear by. To the contrary, forming a partisan relationship with a band – really barracking for them, believing in them – seems a rare treat nowadays, given our unprecedented access to music. The middle of the road is a mutant form of pest that requires tireless persistence to evade, but there are still bands – among whom Naked on the Vague are peers – who deserve close scrutiny, personal footnotes, pencil-case scrawlings and tireless, vitriolic debates with naysayers. You can and should lose friends over this band.
Lucy Phelan and Matthew Hopkins sound legitimately scary together. ‘Chitty Chat’ is a caustic, barely-conceived pop song gushing at its split seams with filthy, sourceless noise. The relentlessly quick and artificial percussion sounds as if it continues ad infinitum somewhere in a vacuum – existing on a frequency this duo only occasionally happen upon. Once found, they endeavour to sully it as brutally and efficiently as possible.
Phelan’s caterwauling is haunted by the oozing, reverberated baritone of Hopkins, and together they are sexless and malevolent. There is a primal energy here that sounds channelled, unreined, as if it’s pouring forth and exhausting its intermediaries. Indeed, where shit bands sound like they’ve drafted their songs to within an inch of the “Chicken Tonight” theme, fucking amazing bands like NOTV cheat their way through instinct, buckling to the pressures of the moment. ‘Chitty Chat’ has been rendered in different forms live but the documented version here could hardly be considered “official”, because the strict dogma of rendition means diddly squat where true art is involved.
It’s a shame that tradition and craft appears the predominant occupation of the mainstream indie scene. Here is a band where investment of belief is imperative and endlessly rewarding. Every young person with a cross to bear should hear, and believe in, this music. Some folk will fork out for the pretty looking artefact, play it once or twice and slot it in among their other collectible 7” singles – of course, the way NOTV disseminate their music appeals to collectors, trainspotters, dilettantes. Here’s a challenge though: play Chitty Chat over and over again, cherish it like you would the classics, and that’s exactly what it will become. Because that’s what it sounds like to me.
by Shaun Prescott
Monday, May 25, 2009
Rice屎Corpse is Abela’s improvised collaboration with two Chinese artists – Yang Yang of Mafeisan on drums and saxophonist-cum-pianist Li Zenghui. For anyone fascinated by Abela’s means but intimidated by its end, Mrs Rice is an accessible place to start. It’s noise rock, and while no less compromising in execution the presence of a rhythmic and melodic backbone breathes a welcoming “rock” dynamic into Abela’s mulched, overdriven glasswork. His foreign sonic vocabulary is translated here into a musical language most listeners can decipher.
When playing off the two-piece ensemble, which switches between foreboding menace and full throttle freak out, Abela’s vocals are given the opportunity to display a surprising myriad of range – whether it be the eerie wavering foghorn drones halfway through ‘Stamp on My Balls’, the subtle static malfunction of ‘Desktop Frog’, or the garish rhythmic hopscotch showcased during ‘Peking Duck’. Abela responds deftly to Zenghui’s keys, which often heave violently out of sparse melodic noodling into hammer-happy free jazz expressiveness. Yang Yang’s eagerness to give his whole kit a solid thrashing at every given opportunity means Rice屎Corpse rarely climb out of their rigid soft/loud MO, but the jarring transitions rarely prove predictable or tiring.
Which seems somewhat integral to Mrs Rice anyway. It’s a joyously gratuitous album, equally hilarious and punishing, maniacal and narcoleptic. Maximum volume is recommended to appreciate the catharsis at the heart of Rice屎Corpse, especially for those likely to glaze over the more challenging aspects of the record. Don’t be mislead: this is still a rough-as-guts ride, but hopefully Mrs Rice is evidence enough to sceptics that Justice Yeldham is much more than just a bloodstained showman.
by Shaun Prescott
Friday, May 22, 2009
What came from this was a revelationary two hour show + sometimes 5 encores (if we ever tour again you must insist on the 5th encore, just keep clapping while we drink water backstage, you wont be disapointed) that was the more inspired and debouched collection of artists who spanned from alt country songs to ear splitting noise and everything in-between all in one act!
Saturday, May 16, 2009
We first heard Purple Duck whoring himself with the evil and wrong rap stylings of Suicidal Rap Orgy, and somehow we knew he deserved better. On his debut solo album he’s thrown everything but the kitchen sink at it, and most of it sticks. But then it slides off at funny angles and it’s impossible not to laugh maniacally then be charmed by the insanity and creative dexterity of the duck-man. It feels like a comedy album, with a couple of skits such as Cunt Dracula, who is a nasty insensitive piece of work (even for a vampire) and Sex Falcon which is about a falcon that terrifies townsfolk by penetrating them and then dropping them off a mountain two hours away. Yes I know it’s juvenile but it doesn’t stop it being funny. And it’s part of the charm of Purple Duck who uses hip hop, funk, house, indie folk, blues and electro pop to get his light humorous messages across. Despite his dexterity it’s impossible to dislodge the notion that he’s taking the piss out of the listener, possibly because the humor tends to overcompensate the soul of the music. That is except for When a Women Cries where the Duck adopts a Flaming Lips vocal style though almost seems to ruin the emotional sincerity by adding a catchy electro groove. Then there’s Bored, where The Duck describes how bored he is, demonstrating a remarkable ability to creatively curse and an almost implausible vocal dexterity. Duckside of the Moon is the antidote to the polished production and vacant content of most current day albums, and as a result should be encouraged.
Bob Baker Fish
Monday, April 27, 2009
Wednesday, April 22, 2009
more infomation here
* 25 April Leipzig, Germany - Skala Leipzig
* 28 April Munich, Germany - Lothringer 13
* 30 April Krems, Austria - Donau Festival
* 01 May Rotterdam - the WORM
* 02 May Hasselt, Belgium - Kunstencentrum
* 03 May Hamburg, Germany - Golden Pudel
* 04 May Amsterdam, Netherlands - OCCII
* 06 May Brussels, Belguim - L'Ecurie
* 07 May Wetzlar, Germany - franzis
* 08 May (my birthday) NIJMEGEN, netherlands - EXTRAPOOL
* 09 May Utrecht - Vecht Club
Tuesday, April 14, 2009
review by ben michell
Trash Maths 1, 2, & 3
As a general rule zines and maths text books suck balls. Big hairy syphillitic balls. yeah that's right, one's with syphillis on them.
So how is it that a zine posing as a maths text book is bordering on absolute fucking genius? It could be that your maths text book was never written with a dedication inside the front cover declaring it to be, "more mathematics for the lazy, the marginalised and the down at heel citizens of the world, it's ok I'm here to help."
Or it could be that all those stupid examples from math texts using trains and council workers digging holes are just useless and boring to boot? Not to mention barely credible - have you ever seen a council worker actually working?
Whereas Trash Maths uses real life and somewhat believable situations like this one about our new 'friend' Ahmed.
Ahmed is an illegal immigrant and gave his 'boss' his passport so he could work off his fare. If he needs to make $5000 for a ride in a shitty, leaky boat to Australia and his 'boss' is paying him $2.50 an hour, how long will Ahmed have to work before he gets his passport back?
See, maths isn't so boring when real life situations are used. Inherently more memorable than all that shit about trains travelling in opposite directions too. Who gives a shit about trains anyway? Your slightly retarded cousin doesn't count, I don't care how much he knows about fucking trains. *
I'm sure there's been some research done on how kids retain learning much better if it's fun and Trash Maths is nothing if it ain't fun. Which must be said is worlds away from any maths text book let alone poxy zine you've ever read. This includes the one your zitty sister is crying over in her bedroom right now, wallowing in her Smiths-induced stupor.*
Which is how Sheryl the masseuse spent her lonely teenage years before realising she could get $75 for every client. If Sheryl has 5 clients a day and pays 10% GST plus $20 to the house per job, how much will Sheryl make in a week?
As if that bitch pays tax, and if you take into account "Lonely Ron" one of her regulars, Sheryl could clear at least $1500 a week.
So that brings us back to our new 'friend' Ahmed. It would've taken him 2000 hours to get his passport back. But Ahmed is a hard cunt from Beirut who ended up stabbing his boss and taking his passport back by force.
* I don't mean to keep hanging shit on your family but you must admit your sister's zine is pretty lame and I challenge any one to show me someone who loves trains that isn't 'feeble minded'
For more general trash go take a look at www.dualplover.com
Wow! This time around, the Vialka disc finds itself cozy against a piece of black felt wrapped in gorgeous photography (Wenxi Xiong, you win!) and cool, abstract art. Yup, here they are again - so glad to see somewhat wistful-looking pictures of these globe-conquerors, confident in their new madness... even a new swank logo! It's almost as if they're trying to lull you into a posture of comfort, to be utterly obliterated by the waiting tones on the record.
Premiers Pas opens with some incredible brass... What, a tuba? Gay and lovely... Strange blasts of frothy vocal nonsense... Flute brilliance -- moving from chanteuse to big, russian-style choirs. Oh man, they're at it again - and their musical chops are better than ever.
The new-heavy-heavy rock moments are new (to my recollection) and Boros is sounding better, stronger, faster on the vox - he sounds a bit like Jello Biafra now, which is awesome. The surf-gypsy moments are lovely and confusing... especially with "yahoo!" staidly yelled over top... and then funk! All this with synthesizers buzzing along at the edge of perception as well... Distorted vox clips all over the place... The end of 100% Hello is a glitch destructo clip-art fest which one shouldn't try to decode - just let it do to you what it wants to.
One For The Road starts with a yummy-fuzzy Boros high-life guitar tone and shuffle-a-gogo with Frecheville drumming the bounce to the cosmos. It's hard to say what of this is Pro Tools and overdubbing, but the drums are sounding astoundingly tight. What group would bother with such regulated tightness on such a mad trip? Whether it's editing or immaculate playing, it sure packs a punch.
This duo, being effervescent world traveler magis are clearly operating on a different frequency, but rocking their chops most days and nights has translated into a recording monster-engine. I actually wrote something similar, on reviewing their 2005 release "Curiosities of Popular Customs", and it's hard to believe how much they've further tightened up on this record.
The odd verbal 'shit, i fucked up' and similar are amazing, almost like Easter eggs among the vortex... Here they leave lots of room for solos and shared musical moments and cool little tricks. Good Riddance features minimalist tuned perc and guitar sequence-type arpeggiated motives which circle and develop - this feels distinctly African, but the inspiration might come from anywhere. The only other type of omni-world-music like this I can think of is generated by Dead Can Dance, where any ethnicity becomes 'every' ethnicity or perhaps The Great Ethnicity. The eerie sense of a cosmic Other is threatened by looming presentments of thrash metal and then ends on a major seventh: very weird. Not music for normal folks, to be sure.
Do What Now? starts like a high-life remix (actually based on a traditional Shona mbira piece) and then ends up a pointed, more dangerous rock-out with chanting - incomprehensible and still catchy as hell. Interjected guitar rush-rock-outs are ever present. I think the one word for this record is "illusive".
The bass drum hits in Dutar remind you that what you're listening to is not only really fucking weird and cool, but also exquisitely engineered - the mix, with all its strange smattering of sounds is packed with character and all the parts occupy a nice, funny realm of their own, making up a highly listenable mix of musical gnomes. Technically, this should be impossible music to listen to, but the mix goes a long way to helping the brain make sense of things. It must have been very challenging to mix and master this stuff - kudos to Bob Drake (recording) and whoever did the mastering. It also seems Drake was responsible for the editing; clearly, hands-down, a true genius at the controls. The mixing treatments and edits are so subtle across the board - seemingly impossible for a project of this scope and complexity.
Always Against brings up an interesting point: the listener disappears out of complete avant-garde abstraction for a moment to settle into what appears to be a vivid and powerful mood - quite devoid of the manic, painted blobs of half-jokingness. So the thought is: wow, if Vialka were to sit down to take us through a 'conventional' musical, static-for-four-minutes experience, or a whole record of that... What would happen? Would Vialka, without the miasma, still be Vialka or would Vialka evaporate? With the intensity and the truth of this powerful moment, one realizes 'shit this band is actually exquisite and might be hiding really intense and beautiful songs' - which, of course, is not the point of Vialka. Is exposing this fact the demolishment of the Vialka entity? The very fact that the question is raised is likely proof that Vialka is doing its job. Viva Vialka!
Hole in my Bucket pretty much drives the point home - the true international experience is a world full of crazy hillbillies on fire. Vialka has seen the world - and that's what they've written. Trying to be legit and weirdo at the same time, Frecheville's warbling songbird tones - luscious singing apparently lost and re-found in the 1930's - make you melt. (You've got to want to be a fly on the wall during this married couple's arguments!) Boros as muttering Henry (Henri) is beyond great - if it doesn't make you want to listen to the whole album AGAIN and twice as loud, I'd be very surprised.
With a record like this, you don't highlight 'good songs'... this is one of those records, perhaps like those of Frank Zappa, where you say, 'wait, wait, here comes this part!'... and then mouth sing it and gesticulate to get the point across. My favourite album moments: Premiers Pas @ 2:39 is one of the best screams in recorded history. 100% Hello @ 2:03 ... I count the seconds until this gets sampled by hip-hop funksters. Always Against @ 3:33 is an intense bass-driven rock out with monster fills that progs too and fro. Frecheville's flat coaxing of Henry is fun and mental.
Vialka has presented another incredible ride through an astounding and confusing musical space - it will demand your concentration, and you won't be able to concentrate on anything else once you put it on - by far their best compositions and recording to date. Let's hope dualPLOVER can further disseminate the genius of Vialka to a wider audience than the world-weary tot-toting duo has already done by themselves.
April 14, 2009
Wednesday, April 8, 2009
as a curator for the site i want to concentrate on the australian underground with an obvious emphasis on the types of music dualplover knows and loves. and will be uploading more stuff in the coming months.
if interested contact us.
in the meantime join the site it's far more fun than facebook and you'll be able to access tons of incredible music, but please don't forget to tip your favourite artists.
more on the archive below
The Free Music Archive is an interactive library of high-quality, legal audio downloads. The Free Music Archive is being directed by WFMU, the most renowned freeform radio station in America. Radio has always offered the public free access to new music. The Free Music Archive is a continuation of that purpose, designed for the age of the internet.
Every mp3 you discover on The Free Music Archive is pre-cleared for certain types of uses that would otherwise be prohibited by outdated copyright law. Are you a podcaster looking for pod-safe audio? A radio or video producer searching for instrumental bed music that won't put your audience to sleep? A remix artist looking for pre-cleared samples? Or are you simply looking for some new sounds to add to your next playlist? The Free Music Archive is a resource for all that and more, and unlike other websites, all of the audio has been hand-picked by established audio curators.
The Free Music Archive is a platform for collaboration between WFMU and a group of fellow curators, including KEXP, dublab, KOOP, ISSUE Project Room, and CASH Music. The site combines the curatorial approach that these organizations have played for the last few decades, with the community generated approach of many current online music sites.
Inspired by Creative Commons and the open source software movement, the FMA provides a legal and technological framework for curators, artists, and listeners to harness the potential of music sharing. Every artist page will have a bio and links to the artists’ home page for users to learn more about the music they discover via the Free Music Archive. We also seek to compensate artists directly. Artist, album and song profiles will contain links to buy the full album from the artist and/or label’s preferred vendor(s). Users can also “tip” an artist if they like what they hear, sending a donation directly to the artists’ PayPal account. Artist profiles include tourdates, encouraging users to step away from the glowing computer screen and see some real live music.
While the Free Music Archive is free and open to anyone regardless of registration or other requirements, written and audio content is curated, and permission to upload/edit content is granted on an invitation basis.
Monday, April 6, 2009
VIALKA: Succès Planétaire International, Edge Radio Recommended (ERR) release for the period of 06.04.09 - 19.04.09.
Tasweigens who want to win a free copy of our new Vialka release, Succès Planétaire International should tune into edge radio for the next two weeks as its featured as their ERR (Egde Radio Recommends) release for the period of 06.04.09 - 19.04.09.
the band as always are on tour here is their current schedule at the time of writing.
06/04 - Derby/GB @ The Mist
07/04 - Glasgow/GB @ The Twisted Wheel
08/04 - Hull/GB @ The Adelphi
09/04 - Bristol/GB @ The Croft
10/04 - Brussels/B @ Nova Cinema
11/04 - Kirchdorf/A @ Gasthaus Redtenbacher
12/04 - Linz/A @ Stadtwerkstatt
13/04 - Ottensheim/A @ Verde Albero
14/04 - Beltinci/SLO @ Ambasada
15/04 - Ljubljana/SLO @ Menza Pri Koritu
17/04 - Faenza/I @ Clandestino
18/04 - Italy
19/04 - Terni/I @ Fat
20/04 - Italy
21/04 - Bari/I @ Bohémien
22/04 - Italy
24/04 - Athens/GR @ Mixanourgeio
25/04 - Thessaloniki/GR @ Point Blank
26/04 - Skopje/MK @ Indie Pub
27/04 - Sofia/BG @ Fans
30/04 - Istanbul/TR @ Peyote
01/05 - Batumi/GE @ Seashore Boulevard
02/05 - Kutaisi/GE
03/05 - Tbilisi/GE @ Vakis Park
06/05 - Yerevan/ARM @ Ulikhanyan Club
07/05 - Yerevan/ARM @ Ulikhanyan Club
08/05 - Kyiv/UA
09/05 - Donets'k/UA
10/05 - Dnipropetrovs'k/UA
11/05 - Kharkiv/UA @ Churchill
13/05 - Rivne/UA
14/05 - Uzhhorod/UA @ Cactus
15/05 - Prešov/SK @ Christiania
16/05 - Rožnov pod Radhoštěm/CZ @ Vrah
17/05 - Prague/CZ @ Chapeau Rouge
18/05 - Brno/CZ @ Vegalite
19/05 - Trenčín/SK @ Klub Lúč
20/05 - Bratislava/SK @ A4
21/05 - Zvolen/SK @ W-Club
22/05 - Budapest/H @ Kamra
23/05 - Timisoara/RO @ Setup Club/Underground Timisoara Festival
24/05 - Belgrade/SRB
31/05 - San Martino Spino/I @ Musica Nelle Valli
24/07 - Antalya/TR @ Wake Up Now Festival
Thursday, April 2, 2009
issue #53 | spring 2009.
Amongst the huge music geeks I know, only a very few have developed a taste for noise. It’s a bit puzzling, since you'd expect that over a half-century, noisicians could have popularized some basic semantics through sublimation if nothing else. Sometimes I wonder whether noise is at risk of extinction. Enter Lucas Abela, an outlier in noise history for creating a window (no pun intended) into noise love for uninitiates as much as vets.
Under the Justice Yeldham moniker, Abela is most infamous for playing panes of broken glass with his mouth. The sheet is amplified by a contact microphone which picks up the vibrations of his lips against the surface. This signal is manipulated further by a slew of pedals. For his quarter hour show, Abela grunts, squelches, hisses and farts with face pressed to pane as he gradually destroys the instrument. Afterwards, scattered glass, spit and blood cover the floor.
Abela has attracted global attention and, from my experience, has made noise's esoteric content more accessible. "One of the most important things when I play," he tells me, "is that you can see the relationship between my actions and the resulting sounds. This is something that's been missing in a lot of contemporary music practice, whether it be lap-toppers or platinum selling singers." With one multifaceted device, Abela offers a compelling physical analogy to his music.
Abela began as an experimental "turntablist", destroying records on high-speed industrial motors with unconventional styli. He met some success here, in particular through a questionable Otomo Yoshihide remix which Yoshihide himself admired. The always-ahead Bananafish requested a very early '97 interview after Abela's first release, A Kombi – Music to Drive-by, a recording of his old VW van's death shudders amplified through its shoddily grounded stereo.
Over the years Abela has amplified sword fights, sucked on amplified metal skewers, performed while bouncing on an electroacoustic trampoline and played amplified dick piercings by touching his collaborative "partner" to complete their circuit. Then at one concert in 2003, he saw a pane of glass in a corner and thought he should play it. "When I first noticed the sheet, it was instinctual to pick it up and try it out."
After his initial discovery, he began to focus on the glass exclusively, touring the show extensively across the globe. Over the years he has come up with a myriad of glass playing techniques which have seen this noise instrument become more and more musical. To show off this aspect, he has decided to form his first 'real' band while living in Beijing. The band, Rice屎Corpse, (which comes from the literal translation of 屎, the Chinese character for shit) with Yang Yang on drums and Li Zenghui on piano, have already recorded the album 'Mountain' and at the time of writing are conducting a 10 city tour of China.
Abela also co-runs Dual Plover records, which he founded in 1995 and funds by cheaply mass-producing CDs for other labels. Dual Plover primarily features fellow Australian artists such as Naked on the Vague, Toxic Lipstick and the mysterious Volvox, but also includes a few international submissions as well, most notably from Deerhoof, Merzbow and Kevin Blechdom.
Although Abela's breakthroughs can be revelatory for the less-than-enthused with noise, his translations can be a double-edged sword. He often has to combat a reputation as the avant-garde's freak show. "Early on at a show in Belgium someone described my set as being like GG Allin, an artist I personally feel no affinity with, he’s all shock tactics without any real content. Basically a really bad rock band with a lunatic as a singer. I'm not interested in such infamy. It would be all too easy to play the psychotic sadomasochist role with what I do, but that's not me."
Abela does often bleed heavily from cuts on his mouth, not to mention from smashing the pane against his forehead and biting off shards with his teeth. I sat next to an audience member who got cut pretty badly from flying glass as the rest of the spectators stared with wide eyes and slack jaws, cringing as Abela slid his lip against a sharp edge.
But anyone will admit they saw a lot more than gore. As violently intense as Yeldham's act can get, he isn't above the classic Kindergarten silly-face on glass with farting sounds to match. This is one of the stranger audience reactions - looks of horror followed immediately by laughter. Moreover, as improvised noise is often sloppy and uncontrolled, it was surprising to see what precise and varied sounds Yeldham produces by pressuring different areas of the glass and manipulating his pedals. It's in these varying textures, Abela insists, that his primary interests lie.
"If you listen, you should be able to hear a vast range of sounds which I'm able to conjure from just a random piece of broken glass. That should create enough wonder in people without the blood and saliva, but people always tend to focus on that. Glass is the most perfect material I had ever come across on various levels, most especially aurally. Not only does it sound unique, it's also very warm and responsive to my nuanced vocal techniques. Visually, it's humorous and powerful all at once and psychologically it strikes nerves within people, making it a wonderful three-pronged attack on the audience's senses."
Abela also insists that his music is not violent and that contrary to popular belief never screams into the glass or purposefully cuts himself. The energy is the same kind you would expect from a high-flying guitar or saxophone solo. "I prefer a live delivery every time. I may not have the range of sounds a lap-topper can achieve but I enjoy my limitations and personally think it's more liberating to create music organically with such limitations and a finite amount of possibilities than to have to choose between infinite musical decisions on a sterile platform."
The nonchalant origins of the act proved typical of Abela as I got to know him a little better. It's difficult to speak at length about Abela's music because he tends to avoid waxing philosophical. It's as if any high-reaching claim about his music would evoke an "uhhhh...well, it's not really that complicated. I just get up there and play." Abela's nonchalance sometimes comes out in hilarious ways. I've never seen anyone jump up as quickly as Abela to dance to Dee Lite at a party. Even better is that he knows all the words to Britney Spears' Toxic.
As intense as Abela's performances can get, he maintains an unpretentious stage presence, determined to prove his normalcy. If the audience were expecting a psychopath to back up the legends, it found something unexpectedly normal. Abela combats the gore and horror of his act with an attitude saying, "don't get too worked up, it's really not that strange.”
by Nathaniel Roe
Tuesday, March 31, 2009
Well its actually an old podcast but since the free podcast service was a pile of junk I have decided to put it up on our server instead. It features a whole bunch of dual plover related music including a preview of the new rice corpse album, tracks by deerhoof , danielson family, new waver and a whole bunch of other really good music. Click here to hear it
Thursday, March 26, 2009
A Trio of glass, drums and piano was in Lucas’s minds ear when he arrived and two completely different musicians came forward to form this unlikely band. First to be recruited for drums was Yang Yang whose antics in his own band Mafeisan has given him the reputation of being the craziest exponent of the normally conservative Beijing scene. His ultra loud out and proud personality is in stark contrast to the mild mannered and brutally shy saxophonist Li Zenghui who came to the project as pianist, cause simply put there were no suitable pianists in the city.
Existing for a limited time and without a common language to interrupt they managed to create these six varied and strangely focused improvisations. This despondent attempt at musicality is by far Abela’s most accessible work to date as the addition of Yang and Li’s stabbing rhythm section forced the seasoned noisician to take his glass instrument into surprising new directions. Released on conjunction with SUBJAM and made possible with the kind assistance of Asialink and the Australia Council for the Arts.
Slaughterin' Slobbersville traveling side show of re-enactments of the Genetic Mutant Civil War of 2024? which also features this lot of deranged individuals!!!
Slaughterin' Slobbersville is a traveling showcase of cross-collaborating artists. The show is an ever-changing sequence of first person vignettes hung loosely from the underlying conceptual history of a genetic mutant civil war in 2024. While the story takes place decades into the future, the format and aesthetic borrows heavily from the vaudevillian traveling shows of the past. The artists involved come from a variety of backgrounds - mostly from around the United States. Musically rooted in experimental, computer, noise, cabaret, and spoken word traditions, the artists all share a common passion for combining theater and music into visceral performances that defy expectations.
Costumes and sets are created from refuse and inexpensive materials often found along the journey. This contrasts sharply with highly technical computer driven projections, electronic music and sophisticated conceptual content. Collaborative contributions include the design of project specific software, homemade synthesizers, original compositions, choreography, and story-telling. The dichotomy between the makeshift folk aesthetic and techonology is intentional; causing a suspension of disbelief between order and chaos that helps the viewer integrate with Slobbersville.
Although the core narrative of the show is well defined, the professionalism of the performers allows for a freedom of creative evolution from show to show. This is a central theme of vaudevillian traveling shows and is our motivating factor for undertaking this project. Video documentation throughout the tour will illustrate the unfolding development of Slobbersville and capture the resulting spontaneous collective inventions.
- 25 April Leipzig, Germany - Skala Leipzig
- 26 April Wetzlar, Germany
(Phoebe Kreutz, Jason Trachtenburg, and Ching Chong Song featuring Slobbersville)
- 27 April Castrop Rauxel, Germany
(Phoebe Kreutz, Jason Trachtenburg, and Ching Chong Song featuring Slobbersville)
- 28 April Munich, Germany - Lothringer 13
- 30 April Krems, Austria - Donau Festival
- 01 May Rotterdam - the WORM
- 02 May Hasselt, Belgium - Kunstencentrum
- 03 May Hamburg, Germany - Golden Pudel
- 07 May Wetzlar, Germany
- 08 May Utrecht - TBC
- 09 May TBC
Wednesday, March 25, 2009
Sydneysiders Naked On The Vague offer whatever debris came out of The Blood Pressure Sessions, nine deliciously primitive tracks of harsh electro-doom punk played in monotonous ways with thumping bass, plodding drums and demented electronics. A male and female singer pitch their mannered shouty vocals to evince every emotion from bored, nihilistic resignation to a fevered, insane anger. Only in places (’Brown Sun / Sydney Lane Rd’) do these undergrounders approach anything that might fit in with the school of benign psychedelic droning such as their fellow countrymen Brothers of the Occult Sisterhood do so convincingly. Rest of the disc is just packed with good, seething menace. Hard to believe it’s just a duo making all this racket; almost as strong as early Royal Trux.
Toxic Lipstick have released Poopin’, a sickly monster decorated in a garish and excessive cover of elaborate eye-searing collages, while the inserted booklet is a hideous pastiche of teen-girl magazines. 10 of these 11 tracks are ‘classic’ pop-song length, nothing over 2 ½ minutes, and their extremely provocative titles promise much psychological mayhem and wanton sexual hi-jinks, lifting the lid on the obsessions and libido of an imaginary teenager in a stark no-holds-barred manner. It takes some constitution to endure the shrill and squeaky voices which scatter their random vocals over these hyperdriven beats and sick electronic thrashy noises (this record’s contrived cheepniss makes Bow Wow Wow sound like Mozart), but fans of Space Streakings or Melt-Banana will be quids in.
Al Duvall’s Recluses Unite…appears to be an attempt at a Tiny Tim revival, as Brooklyn-based songster Duvall picks up his banjo and sings 17 songs which are freakish pastiches of Edwardian, Music-Hall and early country songs (the sort of material for which Tiny Tim had genuine affection, and he included a vast cache of near-forgotten material in his repertoire). Even the CD label is printed to look like an old 78 disc. Al Duvall’s variant on these genres is to add a slightly more salacious and disreputable streak to these songs with his inventively twisted black-comedy lyrics, throwing in dirty punchlines and shades of modern depravity that our Edwardian ancestors would have blanched at. There’s also however an equally strong streak of utter weirdness and lowbrow surrealism, not too far away from the malarkey of Charles Gocher or Revd Fred Lane. When delivered in Duvall’s deadpan singing voice, this tends to leave a very odd taste in the mouth.
Sissy Spacek’s French Record, extreme as it is, finds this listener on slightly more familiar ground. This John Wiese noise project of long standing includes, for these sessions, Kevin Drumm, C. Spencer Yeh, Kate Hall, Sam Ott and Corydon Ronnau playing in various combinations, resultant tapes quite possibly edited extensively afterwards by Wiese to reduce the whole affair to sonic rubble and cut off any energetic bursts of improvisation at the knees. Much impolite and awkward repellent noise seeps forth, creating the sort of spiky, angular effects that tend to repel most civilians. Another gloriously anti-social release from Wiese."
do you want to dance all night
when a woman cries
sex falcon 1
Get in shape
I cannot yeild oil
Cunt Dracula 2
Everyones dying You with the bear
Ants in my pants
Sex falcon 2
Sex falcon 3
press play for a preview of 'love tampon'
dualpLOVER is proud to release their 5th album Succès Planétaire International (International Worldwide Success). The album’s eight new tracks feature a frenetic interaction between Marylise's syncopated drumming and singing and Eric's orchestral guitar playing, delivered with ecstatic energy, humour, lust for life, and a sophisticated musical language and subliminal connection all their own. It also includes a charming rendition of the old German folk song ‘Hole in the Bucket’, their take on a traditional Shona mbira piece as well as collaborations with François Marcziniak and Cyrielle Faure (tuba and flute), Crank Sturgeon (sonic gesticulations), Andrew Dymond (mbira), and Xiao He (vocals and Hunan pipa). Recorded by Bob Drake at Studio Midi-Pyrénées in December 2008 and January 2009, and delightfully packaged in cardboard gatefold slips adorned with cover art by Rachel Lowther and photos by Wenxi Xiong.
Do What Now ?
Hole In The Bucket
press play for a preview of '100% Hello'
The album is a deep dive into the depths of apocalyptic pop and psychedelic weirdness. Disparate vocals grip onto stabbing keys and menacing hook-laden bass lines, pushed on by a relentless drum machine, far past its warranty period, giving the whole of their sound a sonorous curtain of ecstatic foreboding. Essentially a ‘punk’ assault ranging from some almost dance-able short and sharp ‘hits’ to gloomy extended freak-outs. Lucy and Mathew take direction from where the short lived no-wave movement ended, expanding on what that imploded scene could have garnished had it not succumbed to its own fatalistic shortcomings.
Now in its second edition as demand for the album increases across the globe, the band are about to descend on their third US tour including a 2nd appearance at the auspicious SXSW festival in Austin.
Naked On The Vague
USA Tour March 2009
7 Mar 2009
The Shank (98 Bayard Street Greenpoint, Brooklyn)
(Make the)Product 2nd Anniv: w/ Blank Dogs, Pink Noise, Gary War, Led Er Est, Silk Flowers
Brooklyn, New York
12 Mar 2009
w/ The Renderers (NZ), PW Long, Pink Reason
14 Mar 2009
Williamsburg Music Hall
w/Crystal Stilts, Women, Blank Dogs, Silk Flowers
Brooklyn, New York
15 Mar 2009
w/ Woods, Blank Dogs, Tusk Lord
16 Mar 2009
w/Times New Viking, Woods, Blank Dogs
17 Mar 2009
w/Woods, Blank Dogs
18 Mar 2009
The Love Garden
w/Woods, Blank Dogs
19 Mar 2009 (afternoon)
SXSW: Sacred Bones Day Party (non-official) @ Beerland
W/ Blank Dogs, Gary War, Factums, The Pink Noise, Zola Jesus, Dead Luke, Absinthe Minds, Daily Void
19 Mar 2009
SXSW: Siltbreeze Showcase @ Soho Lounge
w/ Ratas del Vaticano 8:45 p.m. Eat Skull 9:30 p.m. Hank IV 10:15 p.m. Psychedelic Horseshit 11:00 p.m. Naked On the Vague 11:45 p.m. U.S. Girls 12:30 a.m. Los Llamarada 1:15 a.m. FNU Ronnies
23 Mar 2009
w/ Blank Dogs, Turpentine Bros.
El Paso, Texas
24 Mar 2009
w/Oh Sees, Blank Dogs, Eat Skull
25 Mar 2009
w/Eat Skull,Blank Dogs,Christmas Island,Blessure Grave
San Diego, California
26 Mar 2009
Part Time Punks @ Pehrspace
w/ Blank Dogs
Los Angeles, California
27 Mar 2009
Acrobatics Everywhere @ UC Irvine
w/ Blank Dogs
28 Mar 2009
w/ Blank Dogs
29 Mar 2009 (6:00pm)
All Ages Day Show @ The 21 Grand
w/ Blank Dogs
29 Mar 2009
w/ Blank Dogs, Nodzzz, Brilliant Colors
San Francisco, California
30 Mar 2009
w/Dutchess and the Duke and Blank Dogs
San Francisco, California
31 Mar 2009
w/ Blank Dogs, Eat Skull, Meth Teeth
1 Apr 2009
w/ Blank Dogs and Little Claw
2 Apr 2009
w/ Blank Dogs, Idle Times
press play for a preview of 'mothers footsteps'
therefore this blog will probably have quite a few posts to start with as i ad all the newer updates from the last couple of months that are still relevant before deleting the current affairs page once and for all.